French Horn Tips & Tricks

Holding a French horn

Holding the Instrument

When playing the horn, place the edge of the bell on your right knee and bring the horn to your lips.  Never lean forward to play it, and don't pick it up and hold it so the bell is pointing directly to the right.

Using the Right Hand

The right hand is always placed inside the bell; this is a characteristic of the French horn that has remained throughout history.  Usually younger students are told not to worry about their right hand since they have smaller hands, but more experience players who would like to play with good intonation will have to learn. The hand should go comfortably inside the bell, curved with the inside and not blocking it. The sound is muffled if you block the bell.

Single vs. Double Horn

A single horn can only play in F, whereas a double horn has extra tubing that allows it to play in both F and Bb.  (A thumb trigger switches between the two sides.)  This extra tubing makes it heavier and much more expensive.  Students usually start on a single horn because their repertoire isn't advanced enough to require the extra notes.  However,

all experience horn players will need to be able to switch between F and Bb.  The music store I go to doesn't rent double horns for this reason; they only sell them.

Cleaning out the Instrument
Mrs. Harvison showed me how to get the spit out of a French horn.  It requires emptying four different tuning valves since there isn't a spit valve (unlike other brass instruments.)  Take out the tuning slide one by one and shake them.  There’s a special wrist maneuver to perform with one that’s particularly curvy.  It's important to keep the valves pressed down while inserting and removing the slides in order to help with the pressure.  I've also seen a French horn player I know spin his French horn while he's holding it to distribute the spit.  This must make it easier to clean out later.

Embouchure
French horn requires a lot of stability in the lower lip and a small embouchure, so clarinet players are often good horn players.  Clarinet has a firm embouchure, especially in the bottom lip, and a strong foundation is essential with French horn.  (This was probably why French horn is easier for me to play than trumpet.)

French horn embouchure

Since the French horn embouchure is so small, it also tires easily at first.  If you find yourself unable to get notes out, no matter how hard you try, you should put the horn down for a few minutes and go do something else.  It happens sometimes.  Then, once you've rested for a bit, go back to playing.

As you play higher, the hole that you’re blowing air through gets smaller and your lips get tighter.  The lips are looser for low notes.  Mrs. Harvison suggested directing your air upwards and focusing on a point above you to help get the higher notes out.  Singing the note or hearing it in your head before you play it also helps.  (Yes, I just admitted that singing can actually help!)

Finally, becoming familiar with the embouchure is very important to playing music correctly.  Since the partials are so close together, it’s easy to start on the wrong note.  One of the first things to teach kids on French horn is to instantly start over if you don’t get the correct starting note.  If you don't start on the right note, the whole song could be thrown off.  Teaching students to reset their embouchure if they don't start correctly teaches them to listen to the other parts in the band and helps them develop and become familiar with their embouchure.

Trombone Tips & Tricks

The trombone was one of my easier instruments.  It may not look like it, but the size of the mouthpiece made it very user friendly for me.  This makes me understand why some beginning middle- or high school band students are put on baritone.  It has the big mouthpiece, but being in tune is easier because it has valves, not a slide.

Assembling and Holding the Instrument
Insert the end of the slide (the opposite side of the mouthpiece) into the slot in the body of the trombone.  Line up so it's at a 90-degree angle, with the mouthpiece slot to the right of the trombone.  Bring the tightening mechanism (not sure of the official term) up and repeatedly spin counterclockwise to tighten.

The main body of the trombone rests on your left shoulder.  The slide should be to the right, close to parallel to the ground.  With your left hand in the shape of an "L", put your thumb on the trigger with your pointer finger on the metal bar closest to the trigger (assuming that your trombone has one.)  You can also hook your finger around the second metal bar to hold up the slide.  (I learned the hard way that this is necessary - everyone loses control of the slide at some point in time!)  Your right hand holds the metal bar

Slide Positions

• 1st - slide all the way in - main tuning note
• 2nd - in between 1st and 3rd
• 3rd - hand touching the bell
• 4th - metal part of trombone even with bell
• 5th - a little farther
• 6th - arm comfortably extended



Click to zoom

• 7th - really reaching out

There can be multiple slide positions for each note, in the same way there are multiple fingerings for some notes on the trumpet.  Also, the number of slide positions used decreases as you go higher.  For example, the low end of my range uses 7th to 1st position.  Then I run out of ways to make the slide shorter, so I have to go up a partial and start at the lower positions again.  Only this time, I don't start at 7th.  I start at 5th.  This continues as I get higher and higher; soon, I would only use 1st through 3rd position.  Here's a diagram to further explain what I mean.

Intonation

Intonation can be tricky on the trombone because there aren't valves or keys.  Therefore, it's important to have a good ear and always be listening to everyone around you.  Mr. Klepacki puts our trombone next to the baritones because they have valves and are more likely to be in tune, so the trombones can listen to them.  Their sound is also similar, which helps.

Some slide positions are more stable than others.  1st position is stable because it's as short as the instrument can go.  It provides the most reliable tuning notes.  Also, intonation tends to be off (particularly flat) in the higher positions.  This is because students don't do as good a job as estimating where the slide should be.

Trigger
Some trombones come with a trigger which allows access to extra tubing.  This extends the range and allows for more flexibility.  (A trigger becomes necessary for advanced players.)  At first, my finger hurt from holding up the trombone at the trigger.  I'm not sure if this happens to many players.  Maybe I was putting too much weight on it.  It stopped hurting eventually, so I must have gotten used to it or stopped doing it.

Instrument Size
Elementary school students often have a hard time playing the longer slide positions, such as 6th and 7th.  It's important not to let them get discouraged because of this.  Make sure they know those slide positions exist and are comfortable with the others so they can start playing 6th and 7th position when they grow and their arms get longer.

Percussion Tips & Tricks

While my time with percussion was short, I did learn a few important things about being part of an ensemble's rhythm section.

Percussion is so much more demanding than other instruments. It’s why percussionists are more dedicated further on in their music careers.  If needed, elementary school teachers sometimes "weed out” prospective percussionists by having them do hand-eye coordination exercises.

Holding the Sticks/Posture

Holding a drumstick

Mallet sticks you can hold naturally, but snare drum sticks are difference.  You put your thumb parallel to the stick near the bottom.  This is the “pivot” point, for lack of a better term.  Your pointer finger hooks around the stick, and this gives it a lot of room to move while still being able to control it.  This is crucial, because the drum won’t make a good sound (and you won’t be able to roll) without this freedom of motion.  It’s hard to explain, and I wish I had another lesson to confirm it all.  I had to keep correcting my grip, but I think I’m getting it now.

You should stand a comfortable distance away from the drum, like you’re holding a cafeteria tray. Stand up straight, right in front of the drum, with your feet a comfortable distance apart.

Rudiments (Patterns)
The pattern L-R-R-L, etc. or R-L-L-R is called a paradiddle. Strong hand lead is starting a “phrase” with your strong hand (right hand in my case.)

Example of strong hand lead

I would start each phrase (after the rests) with my right hand (or left hand, if I’m a leftie), instead of strictly alternating hands. It feels natural, like stopping and resetting after you speak a sentence. A way to remember when to do this is to count the rests as if they’re beats. I could hit the air with my left hand during a rest and land on my right hand for the next note, just like is written.

Buzzing isn’t quite rolling, but it’s a good introduction. It’s represented on the staff by a z on the note. Basically, you let the stick bounce off the drum repeatedly and apply downward pressure on it so it vibrates quickly. (A roll, I think, is simply a lot of these put together, but I didn't have the time to learn a drumroll.) You have a lot of control over how fast the stick hits the drum.

How to stand when
playing snare drum

Flams are like grace notes in music - they come just before the beat as decorations. You hold the sticks at slightly different heights above the drum and let them fall at the same time. It’s slightly harder than it sounds. A good habit to get into is letting the momentum switch the sticks’ positions. So if you start with the left hand higher, you should finish the flam with the right hand higher before resetting your sticks.

Technique
You shouldn’t hit snare drums in the middle.  There’s a sweet spot about halfway between the middle and the rim; hit it there.  Also, young percussionists have a tendency of “hammering” their sticks or mallets (lifting them too far above their head.)  This decreases accuracy and tone quality. There should be minimal wrist movement while playing.  If a quarter on the back of your hand doesn't move, you’re good.  If it’s moving, you need to change something.  Keeping the wrists still allows the sticks to bounce off the head of the drum.

History of percussion

Since there are so many different percussion instruments, I'll focus on the ones usually found in bands or orchestras.  (An orchestral percussionist will usually learn snare drum, xylophone, and timpani.)

Snare Drum
The snare drum originated in the Middle East.  It's been used in the orchestra since the beginning of the 18th century, but its role was significant starting in the 19th century.  Snare drums can have different diameters, resulting in different pitches.  For example, the orchestral snare drum is lighter in tone than the marching snare drum.

According to my source, the tradition way to hold the sticks is the left stick horizontal and the right stick extending from the thumb and index finger.  There are may different types of strokes, such as single, double or bounced.  In addition, a roll can be open (a series of double strokes) or closed (each stroke bounces - the hands are just moving quickly).  All strokes are normally played in the center of the drum head, except for a rimshot.  This is hitting the center and the rim at the same time, or laying one stick across the drum and hitting it with the other stick.

Timpani

The ranges of various
percussion instruments

The timpani originated in Africa and the Middle East and first appeared in the orchestra in 1675.  In 1812, a master screw was developed that could alter the pitch of all the tuning screws at once.  However, this was at the cost of the purity of the tone.  By 1880, pedal-tuned drums had been developed and became the norm of the orchestra.  Then, plastic timpani heads were introduced in 1960.

A typical orchestra has five timpani, each of which has a comfortable range of a fifth.  It can take years for a timpanist to achieve dexterity, coordination, and a good tuning ear.

Xylophone (and other keyboard percussion)
The xylophone originated from the balafon, an African xylophone.  It first appeared in Europe in 1850s and became an orchestral instrument in the 19th century.

Keyboard percussion is struck at either the middle or the very end of the bar to achieve a resonant sound.  Therefore, a percussionist must be able to accurately move and hit notes.  This fluency requires a good memory and lots of practice.

  

Oboe Tips & Tricks

Oboe is a very difficult instrument to master, so there was a lot for me to learn.

Embouchure

Embouchure, as suggested
by Standard of Excellence

Oboe utilizes a "double embouchure".  Both lips are curled over the teeth to create a cushion for the reed.  This allows the reed to vibrate since it's a flattened tube that doesn't use a mouthpiece.  I read you should your lips under to the point where you can't see them anymore, but I've learned that isn't necessary.  It wears out your embouchure, and the reed plays just fine without doing it.  Plus, my Standard of Excellence lesson book says you should close your lips in a "drawstring fashion", but I think that's misleading.

Musicians who play other instruments need to build embouchure endurance.  When I first started playing, my lips got tired of staying in the same unnatural position for so long.  They would try to unfurl and revert to clarinet embouchure, with one lip partially curled under.  But I got used to it with practice.

Posture
The oboe needs to be held farther away from the body than the clarinet.  The angle between the instrument and your body is greater.  This allows the reed to go straight into the mouth, which helps it vibrate.  If it's at angle, it will affect the pitch.  Other than this, posture is the same as clarinet.  Sit up straight with your feet flat on the floor and your back away from the chair.  Your hands are comfortable at your sides.

Reeds
Oboe reeds are REALLY fussy.  Many serious oboists carve their own reeds so they can personalize them and guarantee they'll play correctly, but I didn't have time to learn that.  I ordered my reeds online, so I was constantly at the risk of buying a bad reed.  All woodwind reeds have their imperfections, but there are more possible double reed imperfections, and they have a greater impact on the reed's performance.  If a reed's opening is too big, the pitch will be flat.  If the opening is too small, it will be sharp.  Either way, it's hard to play.  You can try squeezing the reed to try to get it to open or close more, but it's tedious and not guaranteed to work.  I've bought four reeds this year, and two didn't work right off the bat.  (Another I dropped and chipped two minutes after arriving home.)

Intonation

Blue = fully covered hole
Green = half-hole

The reed can present its own intonation problems as stated above, but, like other instruments, embouchure plays a big role in keeping the instrument in tune.  One way to adjust the pitch is changing how much reed you have in your mouth.  More reed will make the pitch go down, and less reed will make it go up.  I've noticed the angle of the instrument changes the intonation, too.  It takes a lot of practice to completely play the oboe in tune, and I'm surprised I've gotten as far as I have.

Fingerings
One difference between the oboe and other woodwind instruments is the "half-hole".  I don't know why the oboe requires it - it's similar to lifting your pointer finger for some notes on the flute.  In fact, it's the same notes.  Younger students tend to pick their finger up and put it down again when moving from a half-hole to a full fingering.  This isn't good, since they might have to do it quickly.  The key is rolling your finger.

There is a seemingly infinite number of alternate fingerings for the oboe!  For example, Bb in the staff has 9 possible fingerings (including trill fingerings that shouldn't be used for anything other than trills)!  It makes me wonder why the oboe, of all instruments, needs this many alternate fingerings and other instruments don't.

Finally, there are some extreme similarities and differences between the oboe's fingerings and the clarinet's (half-hole aside.)  There are just a few weird differences, such as F and F#.  The fingerings for clarinet are almost switched on oboe!  I posted a diagram of the differences earlier, but here it is again.

History of French horn

The French or orchestral horn, often referred to as simply a horn, acts as a bridge between the woodwind and brasswind sections of an ensemble.  It has an early history similar to the trumpet's.  It originally didn't have valves, so players used their hand to alter the pitch.  Half-covering the bell lowered the pitch by a half step, and completely covering the bell raised it by a half step.  By the mid-18th century, this so-called "hand stopping" was the norm.  Even after the introduction of valves, a player still puts their right hand in the bell because it's part of the instrument's character.

Players still needed to change crooks to make the key of the horn closely match the key of their music.  One attempt to change this was the omnitonic horn.  It included all of the different crook lengths on the horn's body.  Instead of manually inserting and removing these crooks, players switched between them by turning a dial.  However, the instrument was heavy and cumbersome, so it never caught on.

Valves were introduced in the early 19th century by Stölzel and Blühmel.  These new valved horns had a consistent tone, were easier to play, and could play all chromatic notes.  They became standard by the late 19th century.

Today, the horn consists of a body, bell, valve system, mouthpiece, and mouthpiece.  The shape of its mouthpiece produces a mellower sound than other brass instruments.  The most popular horn is the F/Bb horn, which utilizes two sets of tubing to play in two different keys.  This allows the player to play some extra notes and keep others in tune.  The horn's compass extends from D to c'''.

Questions, questions, and more questions

Over the past week, my new knowledge of these instruments has finally caught up to me.  Last night, I suddenly had a lot of questions about how everything I've learned fits together, as well as how the different instruments function.  I can never remember the word that describes that concept (the function of an instrument and the process of playing it.)  But I would really like for these questions to be answered by the end of the year, so I need to start seeking answers soon.  Here they are:

1. A general assumption I've developed based on experience with clarinet and other instruments: the more "instrument" a note uses (the farther the air travels through it), the richer and more stable it sounds.  Evidence from experience is as follows:

• Third-space Bb vs. B on the clarinet.  The Bb doesn't use a lot of the instrument and is really airy and hard to tune, whereas the B is a rich note that ideal for tuning because it uses a lot of the instrument.
• Third-space C and C# on saxophone are unstable are really out of tune if you're careful. [Diagram coming soon]



Click to zoom

• Db on flute (in or above the staff) is relatively airy and extremely out of tune [Diagram coming soon]

So, based on this logic, why is...

• F# stable on the saxophone?  In fact, it's considered one of the most stable tuning notes on the instrument, considering it's only halfway down the instrument. [Diagram coming soon]
• G#/C# unstable on clarinet if it uses roughly half the instrument?

Click to zoom

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2. What makes notes suddenly really hard to play on brass instruments?  (One note will be easy, then the next note will be really hard.)  Examples are as follows:

• F to G to A (in the staff) on French horn
• E to F (first line and space, respectively) on trumpet
• I understand why F to G is a reach.  A "partial" seems to last C - F# on trumpet. You have to completely change your embouchure on G. Is this true?

I already know that...

• Going over the break is hard on clarinet because you're going from using hardly any instrument to all of it.
• Eb to E on flute is hard because you start putting your pointer finger down and have to change your air and embouchure.
• So why do you have to change your embouchure again for the high Bb, B, and C above the staff?

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3.  What are the partials on French horn?

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4. Is there a relationship between the fingerings on either side of the French horn (F and Bb)?
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5. The tuba has a pedal tone pitched in Bb but plays in C. Why?
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6.  What are the pedal tones for the different instruments?
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7. Why is it easy to play really quietly on the clarinet and hard on the saxophone?
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8. Why is learning these instruments so easy for me? (A leftover question from last week that I forgot to ask during my French horn lesson.)
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9. Today I discovered that, if you put together half a Bb clarinet and half an A clarinet, the resulting pitch splits the pitch difference in half. So, if I played a written B (concert A for Bb clarinet and concert G# for A clarinet), the resulting pitch would be concert G# 30 cents sharp, or "concert G# and a half!" However, this still applies to notes that don't use very much of the instrument, like open G. Why does it apply when the bottom half of the clarinet was in A? Wouldn't notes get progressively out of tune as they use more instrument?

Some reflections...

As I've been going through the process of recording my parts for "Down a Country Lane", I realize I’ve gained a completely new respect for composers. I’ve never really understood the extent to which the different instrumental parts fit together to create one ensemble. I've always been pretty aware of how the three clarinet parts fit together in any piece since we're so closely related, and I can figure out how my entrances feed off of the other sections, but I have a new understanding of what it takes to build a piece.  It’s really hard to explain, but there’s a new sort of enlightenment that comes from playing ALL of the different parts and layering them together.

I don't think this is the first time I've had this realization.  Over the course of three years, I've played "Shenandoah" by Frank Ticheli three times for three separate ensembles.  Each time, I've played a different clarinet part.  Learning the three different parts gave me a new awareness of how the three parts feed off each other.  However, this is the first time this thorough understanding has applied to the entire band.  I know not only the clarinet's parts, but every other instrument's parts as well.  It's like the difference between reading news about the countries in the world and actually living in them.

I also talked to Mr. Klepacki about my experience with recording the parts for saxophone.  I’ve gotten so much better since December - I can play in tune more easily and get a better tone quality.  The big difference between saxophone and clarinet is the angle of the mouthpiece.  The clarinet's is angled down, and the saxophone's is straight into your mouth.  Mr. Klepacki asked me which instrument I have better control over.  I initially wanted to respond “clarinet”, because I have more experience on the clarinet, so therefore I should have more control. But then I thought about it some more. I realized the change in mouthpiece direction makes a big difference. Lipping down the pitch is easier on the clarinet because it involves dropping the jaw and loosening the embouchure.  I think the mouthpiece's natural angle is what makes it easier. It's harder to lip the pitch up, or make it sharp, because I have to tighten my embouchure a lot.  With the saxophone, I think I can’t lip it down as far because the angle is straighter, but at the same time the angle provides more freedom to lip it up. (If I tilt the mouthpiece so the angle is more like the clarinet's, it makes the pitch sharper.)

History of trombone

My tenor trombone

The history of the trombone is unclear, but it's agreed upon that its immediate precursor was the sackbut, a term which refers to any brass instrument with a slide.  The earliest trombone was in 1551, and was closer to contemporary trumpets than modern trombones.  Its melancholy timbre in the 17th century meant it was associated with death and the underworld.  However, it almost disappeared in the 18th century due to a lack of interest.

In the 18th century, the trombone began to reappear, mainly in Mozart pieces and military bands.  Several changes were made to the instrument after this time.  In the late 1700s, the Bb trombone with 7 slide positions (vs. the previous 4) was developed.  In the early 19th century, the bell was widened and the bore (interior chamber) was enlarged by 20 - 30%.  By the middle of the century, it was common to have two tenor trombones and one bass trombone in an orchestra.  By the 20th century, it was also popular in jazz and swing bands.

Trombones with triggers include
the tubing highlighted in blue.

A trombone has seven slide positions; 1st position is when the slide isn't extended at all.  Some trombones also include an additional set of tubing, accessible by a trigger, which drops the pitch a fourth.  This extends the compass of the instrument and allows the player to play certain notes in more than one slide position (more so than you could with a trombone without a trigger.)

The trombone family consists of the alto, tenor, and bass trombones.  The alto trombone has a compass of A to e'', and the tenor and bass trombones have a compass of E to f'''.  The tenor trombone sounds an octave below the Bb trumpet and an octave above the tuba.  The alto trombone sounds a fourth or fifth (depending on the key of the instrument) above the tenor.

The compass of the tenor
and bass trombones

Instrument #9?

A clarinet (left) and Bb clarinet (right)

Today I picked up an A clarinet from a friend of mine from WCYO.  She has carpal tunnel and won't be able to play for a while, so I'll be taking over her part.  I'm the only clarinetist of the three of us who doesn't have both a Bb and an A clarinet, so I'm borrowing hers.

The only difference between a Bb clarinet and an A clarinet is the pitch (hence the names Bb and A.)  The fingerings and compass are exactly the same.  But because the A clarinet is longer, it sounds one half step lower.  Occasionally I have to fill in a part written for the A clarinet on my Bb clarinet.  In this case, I have to transpose down a half step.

So why was the A clarinet created if it's almost exactly the same as the Bb clarinet?  A clarinet is easiest to play in keys related to its own.  So, since "A" is a sharp key and "Bb" is a flat key, keys that are difficult for one type of clarinet are easy for the other.  Composers choose the type of clarinet based on the key they want their piece to be set in.  Here's a diagram of some key transpositions between the two clarinets:

Click to enlarge

Orchestral pieces that are written in sharp keys in concert pitch are best played on the A clarinet, and pieces in flat keys in concert pitch are best for the Bb clarinet.  I don't think I've ever seen concert band music that has more than 2 sharps for concert-pitch instruments.

"Aura Lee" on a new reed!

My new reed came on Friday!  Third time's definitely the charm - it's a lot easier to play now.  I still have to get used to a few things.

First, the fingerings are different.  The fingerings for F and F# are switched compared every other woodwind instrument I've played.  Here's a diagram.  Note how F for one instrument is basically the same as F# for the other, and vice versa.

Fingerings comparisons, clarinet vs. oboe.
Diagonal fingerings are almost the same.

Some oboe fingerings also require using the "half-hole."  No other instrument I've played so far has this feature, so I often forget when I should or shouldn't be using it.  However, it's a little similar to the use of the left pointer finger on flute - the notes where you need it are similar.)

Half-hole is in green, fully pressed key is in blue.
Effective because of the hole in the blue key.

Finally, I have to get used to using less air than I do with other instruments.  It's a smaller reed with a smaller opening, and I've heard my orchestra conductor say that oboists tend to store air they don't need.  If I take too big of a breath, it strains my lungs and embouchure and I end up getting a headache.  A little goes a long way with the oboe.

Here's "Aura Lee", first attempt (bad reed) and second attempt (good reed).

History of the oboe

A shawm

The oboe is a direct descendant of the shawm and the hautboy.  A shawm is a six-holed instrument with no keys that produces a very powerful, raucous sound.  It's often associated with ceremonial music and processionals.  During the mid-17th century the shawm became the hautboy, which has eight holes and a completely exposed reed, allowing for greater control, a softer timbre, and greater difficulty to play.

Further changes were made to the hautboy between the 17th and 19th centuries.  (The instrument also found a place in orchestra during this time.)  Over time, it was given a narrower bore, thinner walls, and smaller finger holes.  While this increased agility and produced a quieter, more focused tone, the lack of keys meant it still had inaccessible or different-sounding pitches.  Therefore, the Conservatoire system was introduced in the 1870s.  The speaker key was added, and the instruments became primarily made of African blackwood.

Other members of the oboe family include the oboe d'amore (a "mezzo-soprano" oboe), oboe da caccia (a "tenor oboe"), and cor anglais (more commonly known as the English horn.)  The oboe de caccia has faded away, but the English horn continues to be popular.  It's plays a perfect fifth below the oboe, is slightly longer, and has a round bell.  It's compass is the same as the oboe's: b♭ to f#'''.

The oboe's and English horn's compasses

First oboe lessons

Chip (top) and Stanley (bottom)

I started experimenting with oboe embouchure about two and a half weeks ago since double reeds don't need an instrument to make a sound.  I succumbed to my impatience and bought my first reed from Bethel Music Center... for $17.99.  And then, as soon as I got home, I dropped and chipped it (I wasn't used to opening that kind of case!)  It felt like ripping up a $20 bill.  So I bought another on Amazon for $12 to be safe.  And it's flat and really hard to play.  Oboe lesson #1: reed problems.

An oboe reed's opening should,
unfortunately, be between these two

Oboe embouchure is a lot different than the clarinet's; I'm still getting used to it and increasing my stamina.  I managed to play a Bb at home, but not much else.  After taking a lesson with Allie, I could play a little less than a scale (sort of), but I was still getting used to the reed and forcing air through it.  (It's a smaller reed so you don't need nearly as much air, but the chips weren't making it easy.)  It also needed soaking in water every 5 minutes.  It was a good start.

Two days later, I had a lesson with Mrs. Harvison.  By the end of the period, I could play "Hot Cross Buns fairly successfully, but we decided I needed more reeds since Chip and Stanley (Get it?  'Cause it's flat?)  weren't helping at all.  I ordered another for $11.99.  (So far I've spent $43.87 on oboe reeds.  But let's not think about that.)  I was also pointing the instrument too far down, so fixing that helped me play better.  Overall, needless to say I gave Mrs. Harvison and Mr. Klepacki a good show that day.

Videos and more detailed updates will be coming soon!

Flute Tips & Tricks

Flute posture

The flute was a different experience than any other instrument I learned so far.  Trumpet was completely new, and saxophone and bass clarinet were very similar to what I already know; flute was a combination of familiar and unknown.

Posture
Proper flute posture involves sitting up straight and holding the flute so it's close to parallel to the floor.  I'll admit my flute wasn't completely parallel, but I wasn't hunched over the instrument like some flautists in band tend to do.  A good way to summarize good posture is, "Bring the flute to you; don't bring yourself to the flute."  Don't get lazy and rest your arm on the chair next to you or lean over so your arms aren't as high.  You'll eventually get used to holding your arms up if you keep practicing.

Embouchure

Flute embouchure

A flute makes a sound when the mouthpiece splits the musician's air column, resulting in a swirling pattern inside the instrument.  Therefore, it is very important to correctly place your lips on the mouthpiece.  If the mouthpiece is turned too far outwards or inwards, you can't produce a sound.  The lips should be pursed with the corners tight, as if they're pulled towards your ears (think of blowing air over your chin - it's a similar feeling).  This creates a "compressed" air column that's directed towards the mouthpiece.  Keeping a mindset of "blowing through a straw" helps a lot.  The edge of the mouthpiece should be touching the outside edge of the lip.  (It's perfectly normal to produce a very airy sound at first - you have to get used to the embouchure and mouthpiece placement.)

The flute can be turned inwards or outwards to slightly change the pitch of the note.  If a note is a bit sharp, roll the flute in towards your face to lower the pitch.  This comes in handy when playing lower notes; rolling the flute in a bit aids in getting the note to sound since it requires slower air.

I found it very helpful to watch my embouchure in the mirror as I was playing.  My embouchure tends to get tired after I've been playing for more than 20 minutes, so seeing it in the mirror helps me remember where it should be and improve my tone.

Octaves
Unlike other woodwind instruments, there is no octave or register key on the flute.  To play higher, one must blow faster, "cooler" air.  To do so, the embouchure must be tighter.  The opposite is true for low notes; relax the embouchure and blow slower, "warmer" air.  I've always heard Mr. Klepacki tell the flautists to pretend they're "cooling hot soup" for the lowest notes.

The higher notes may require more intonation adjustments; tighten the embouchure to raise the pitch, and relax it to lower the pitch.  Rolling the flute inwards may also lower the pitch slightly, but be careful not to lose the sound.

Dizziness
In elementary school, I always heard flautists complain about getting dizzy when they play.  As a clarinetist, I couldn't understand how playing an instrument would make you dizzy, but it's true.  More air is required to play the flute, so it's easy to get lightheaded.  If you do feel dizzy, stop playing and take a break.  Stretch, walk around, get a drink.  After a few minutes, once the oxygen has returned to your brain, you may continue playing.  With time and practice, you will develop the endurance to play for longer periods of time.

One cause for lightheadedness is exhaling too much air at once.  Air has no resistance on the flute, so it must be controlled by the embouchure.  Make sure your embouchure is tight and directed towards the mouthpiece (the same concentration as blowing through a straw.)  This will help your air supply last longer so you won't feel dizzy.

Instrument Troubleshooting
I discovered that it is possible to unscrew the dome-shaped cap at the head of the flute.  If this happens, the flute won't play properly (I learned this the hard way.)  Make sure it's always screwed in.

Saxophone Tips & Tricks

Posture

Saxophone posture

Saxophone posture can vary depending on the musician.  Like other instrumentalists, saxophone players should sit up straight with their feet flat on the floor, but they can choose how to hold the instrument while they're playing it.  Younger players can learn to hold the saxophone so it's outside their legs.  (This is how most of our saxophone section plays.)  I'm assuming this is because they aren't big enough to hold the instrument between their legs.  I play with the saxophone rested between my legs on the chair - I'm just tall enough for it to work out.  It means I don't have to have the weight of the saxophone on my neck, which is nice.  I'm not sure if this is encouraged for elementary school students; that's something to figure out in April.

Saxophone embouchure

Embouchure
The saxophone mouthpiece was based on the bass clarinet's, so the embouchure is similar.  The mouthpiece goes straight into the mouth, unlike clarinet mouthpieces which are at an angle.  The bottom lip can be curled under slightly, and the top teeth should apply some pressure.  The chin is flat and pointed.  The higher notes require tighter embouchure and control so they will speak and be in tune.  The mouth and throat need to be open in order to play the lower notes, as if a golf ball is in your throat.  Dropping your jaw helps open up the embouchure.

Tuning

Saxophone mouthpiece

To me, the saxophone is notorious for being out of tune.  Fortunately, it can be easier to fix than on other instruments.  The mouthpiece of a saxophone is very different than other woodwind mouthpieces.  A clarinet or a flute is played with the mouthpiece pushed in all the way; there is no cork showing.  There is a definite "starting point" for tuning.  There isn't a clear "starting point" for saxophone.  The mouthpiece is placed on a piece of cork (it can safely rest on about 2 inches of it), so there's a lot of wiggle room.  You remember where to put the mouthpiece once you have some experience.  In the meantime, it's a good idea to tune before you play to ensure the mouthpiece is in the right place.  (My rented saxophone also has a red line drawn where the mouthpiece should be placed.)

Dynamics

Clarinet mouthpiece

Saxophones are also known for being able to overpower other instruments.  (I remember the saxophonists had to put socks in their bells to muffle the sound.)  They have to be able to fit in with all types of ensembles, so dynamic control is very important.  Some ranges (ie. the higher notes) are easier to play quietly than others (the lower notes), so you have to adjust your air support accordingly.  The lower notes require more support if they're going to be played quietly.

Flute Attempts 1 and 2

So I got a flute last week, and my first lesson with Mrs. Harvison was last Thursday.  I learned many tips for embouchure and air; for example, I had to keep the mindset of blowing through a straw (a small, compressed stream of air) in order to make a sound.  It took a lot of fiddling, but I managed to play four notes that day: the Bb, C, E, and Eb in the top half of the staff.  The F was almost there.  (My friend from orchestra made a suggestion: blow so the air goes over the bottom of your chin.  It helped, plus I proved her wrong when she bet I wouldn't be able to produce a sound on the first day.  HA.)

Just now I practiced again and got a bit better at not making myself dizzy and lightheaded.  The tone isn't as airy if I stand up and watch my embouchure in the mirror.  Weird, but it works.  I managed to record "Hot Cross Buns" (which I'm getting tired of playing - are there any other simple songs to learn?)

I have to get used to tonguing, just like I did with the trumpet.  There isn't a mouthpiece in my mouth, so I have to experiment with where to put my tongue so I don't completely cut off the air flow.  The pitch sometimes jumps up an octave when I tongue, too.

To summarize, things to improve this week: stamina and tone.

And I need to record the saxophone chromatic scale, too.

Saxophone in band

I played the saxophone in band twice last week.  Having very similar fingerings was very convenient since I could play the music without thinking too much about it.  Whatever differences there were, I had gotten used to them.  The biggest thing I realized is how out-of-tune our saxophones really are.  Really.  Okay, my intonation wasn't perfect (you have to play an instrument for a long time in order to figure out how to adjust each individual note), and I already knew saxophones are prone to being out of tune because of the way the mouthpiece is set up, but the pitch beats were even more audible when I was among them.  I also can't hear anything the woodwinds are playing, which is something I'm not used to.  The saxophone is definitely not a graceful instrument, but it's still interesting.  Other than the intonation, it went really well.  I might bring the saxophone to a pep band game or two so I can get video footage of myself playing.  I'm glad I rented a sax from Bethel.  It's more in tune, and the lower notes are easier to get out.

Flute history

When people think of a flute, they imagine the familiar flute seen in an orchestra.  This is known as the Western concert flute, a "transverse" or "side-blown" flute which is held horizontally.  (There are many kinds of flutes around the world.)  Direct relations of this modern flute have existed since the 11th or 12th century and became popular in the 16th century.  The modern flute was developed by Theobald Boehm in 1847.  This flute boasted tonal power, agility, secure intonation, and new fingerings.  (Boehm developed the Boehm key system, which later influenced other instruments such as clarinet and saxophone.)  It's most important feature was its ring keys, which allow two holes to be covered at once using only one key.

My flute (a piccolo is about half the size)

Flutes are normally made from nickel-silver or sterling silver, allowing for a flexible, projectable tone.  However, many players mix other materials such as wood and gold.  Wood allows for richer, stronger lower notes; and gold creates a mellow sound.

The flute family includes the piccolo, alto flute, and bass flute.  The Western concert, or C, flute's compass extends from c' to f''''.  It's close cousin, the piccolo, has a slightly different range but sounds an octave higher.  The alto and bass flute sound a third and a fifth below the C flute, respectively.

The flute's compass

Trumpet chromatic scale (Part 2)

Here's the second chromatic scale on the trumpet.  It's at 50 bpm, and I didn't look at the fingering chart.  Remembering the fingerings was harder when I was descending the scale than ascending.

Second chromatic scale

Trumpet chromatic scale (Part 1)

I'm going to play the chromatic scale on the trumpet twice.  This is the first recording, where I'm looking at the fingering chart and the beat is 50 bpm.  The second recording will be without the fingering chart, and most likely at 40 bpm.  Here's the first recording.

Saxophone progress

Saxophone has gotten a lot easier now that I'm used to the differences in the fingerings.  First, a few notes (ha!) on dynamics.  I’m getting better at having the control to play quietly, but it’s easier on some parts of the range than others. (I don’t know if the saxophone has names for the different sections as the clarinet does. The clarinet is known for how its registers each have a different sound, so maybe that’s why they have different names. That's something to research.) The notes that only use less than half of the saxophone (G to C#) are a lot harder to play quietly. Mrs. Harvison referred to a “change in air pressure” when I try to play quietly, probably especially in this range. When more of the saxophone is used, as in the D to G above the staff, dynamics require as much control as I am comfortable using on the higher registers on the clarinet now. Maybe a little more. The notes above a G above the staff become harder again.

The 20-minute attempt to get the mouthpiece to work (long story.)

I’m also having trouble getting in tune. It could be the instrument, or the fact that I’m not using the mouthpiece made for my particular instrument. It’s a lot more than knowing to lip the pitch up a bit when I’m playing higher - it’s really flat. And being flat (as opposed to being sharp) is really annoying since it’s harder to fix. I’m going to have trouble recording myself if I can’t play in tune! Today I'll be picking up another instrument at Bethel Music Center (Route 7 won't have any until tomorrow) just so I can have a half-decent instrument.  After all, as Allie and Mrs. Harvison say, big student instruments have a bad reputation.  I plan on being a saxophonist in band on Tuesday.  Yay, pep band!

Finally, I got the score for "Down a Country Lane" a few weeks ago and copied all of the parts into a PDF document.  I'll have to cover parts for instruments I'm not playing (ie. play the bassoon part on bass clarinet), so I created a list of instruments I'll have to record more than once.  This will also test my transposing skills.

Trumpet Tips & Tricks

It didn't take me very long to realize how different brass instruments are from woodwind instruments.  The hardest part was adjusting to the embouchure.

Embouchure
I had listened to Mr. Klepacki talking to the brass section over the years, so I wasn't completely oblivious when I started learning brass embouchure.  My first actual "lesson" came from the Standard of Excellence book.  It had a great explanation, and I picked it up really quickly.  To find your mouth, shape the inside of your mouth as if saying "oh."  Then, bring your lips together as if saying "em."  The key is for the corners of your lips to be firm, but the center should be relaxed in order to create the buzz.  Your chin should be flat and pointed.  I discovered that buzzing relies on the firm lips; without them, I'd just blow air through pursed lips.  Mr. Klepacki also recommended offsetting your lips on the mouthpiece (60/40) to make it easier.

Partials
The Standard of Excellence book was written as if a student's first note could either be the C below the staff or the G in the staff.  I first played the C, so I had to work from there.  One of the most important things I learned was, "You have to play low to be able to play high."  The lower partial came fairly easily, but control is essential.  My lower partial was usually flat, so I had to lip it up.  This was done by adjusting my lips or chin.

I started moving up the C major scale once I could play below the staff.  C through E came fairly easily, but it took a while to get to the G.  After that, the new goal was the C in the staff.  The key is to tighten your lips and blow harder.  I couldn't try to estimate how much air I would need, because I would always be wrong.  Have no mercy.  I also found it helpful to put more pressure on the mouthpiece.  This aided in tightening my lips.  I don't know if a trumpet player should actually do this, but it worked for me.

Finally, I wouldn't be capable of my current range (a little under two octaves) without the practice time I put in.  Seriously.  Every little bit helps.  PRACTICE.  There's no excuse not to.  It helps your embouchure's strength and endurance so you can play higher and for a longer period of time.  You'll also have more control over the instrument.  Each note is different; one may be slightly flat for you, but the next will be sharp.  Muscle memory will develop faster with practice!

Posture
I realized the most beneficial posture isn't what I've seen the other trumpet players doing in band.  Most hold their trumpets down so the bell is in the stand.  I've heard how that muffles the sound, but I discovered that it actually makes the instrument harder to hold.  When I began playing, I naturally held the trumpet up.  My neck was straight, and it was a lot easier to exhale.  I tried holding the trumpet the way others do in band, but I couldn't.  My airway was restricted, and my arms were put in an awkward position.  Moral of the story: don't be lazy when holding a trumpet, even when you're just beginning.  It'll pay off in the long run.  As always, if you're not used to sitting up straight, don't give up.  Soon, you'll be sitting up straight without thinking about it.