Five trombone players in a tight group smiling and snickering.
    Hearing your name and then muted (or not-so-muted) laughter.
    Having a bandroom full of students that goes completely silent, followed by the words, “He’s coming!” while you are in your office.
    A fifty-piece pep band with ten drummers.
    A band director with a commercial driver’s license.
    A father with pliers and a stuck mouthpiece.
    When a student says, “You look nice today.”
    When a student begins with, “Uh…you’re not gonna like this, but…”
    The loud clang of an instrument hitting the floor.
    A principal who returns from a conference or reads a new book.
    When the band mangles a tricky passage during the last rehearsal before a contest.
    When a new student walks in with a purple clarinet.
    When a trumpet player buys a new mouthpiece over the internet.
    Acting uncharacteristically silly only to realize a student is laughing while recording you on a smart phone.
    A band director with a powerful metronome.
    An important solo that only one person is able to play.
    Four first-year marching bass drummers.
    When a student says, “Yes, sir,” or “Yes, ma’am.”
    The superintendent wants to choose your flags.
    When a principal walks into your room “just to listen.”
    You arrive at a new job where half the band students say something like, “I can play the flute, saxophone, trumpet, piano, or trombone.”
    A color guard member spinning a flag near a trumpet soloist.
    A flute player helping load the band truck.
    A saxophone player who discovers Kenny G.
    Realizing you have been teaching longer than your new assistant has been alive.
    After a less-than-stellar performance, having a parent say, “I posted yesterday’s concert on YouTube!”

The post Now That’s Scary appeared first on The Instrumentalist.

    I remember the anticipation of a new school year. My parents were both teachers so the entire family prepared for the September start. When I was a child, it meant new school clothes and shoes, purchasing school supplies, and the excitement of stacks of clean notebook paper. Something about that paper made me want to fill it up; perhaps, even then, there was a glimmer of a writer in me. I remember how the school smelled on that first day – all clean with a hint of sweeping compound. My father was a high school biology teacher, and I will never forget his harrumph at my excitement over my first day in high school: he said, “You can always tell a Freshman, but you can’t tell ‘em much!” That was my Dad – always the realist!
    Later, when I was teaching at DePaul University, I would end the school year in May, completely drained. Teaching is a giving profession, after all; the knowledge is always going out to students and sometimes very little comes back. By August, however, the creative juices began to flow again, and I was ready to start the cycle again, eager to help young flutists along their paths toward excellence.

Some Words of Advice
    Those of you starting your college careers – or seniors looking ahead to next year – must not waste a precious moment. Go prepared. Yes, I know, you don’t have an assignment yet from your private teacher, but you can arrive at that first lesson with your scales prepared, an etude, solo piece, and an orchestral excerpt ready to play. If the teacher has other ideas, you have not wasted your time. If they say, “What did you bring to your lesson today?” you will have an answer.
    Please arrive on time; in fact, arrive early, and find something other than threadbare jeans to wear. Show this teacher that you are serious about your craft. Whoever said “First impressions are the most lasting” hit the nail on the head. How you present yourself will speak volumes about you in the first five minutes. Because this is in many cases a four-year relationship, it would benefit you to make a good impression.
    Designate a separate notebook for your lessons – a music journal of sorts. Take notes during lessons, write down assignments, and then make observations in it during practice sessions. After each lesson take a few moments to set some goals for the following week. Then address those goals in your practicing throughout the week. If questions arise, write them down. If you have an a-ha moment, write it down. This journal can become an organizational tool and a history of your progress all at the same time.
    Some students going to college are leaving home for the first time; it can be a serious, although exciting transition. Embrace it, make new friends, dive in to the academic environment, and check in with home via Skype, phone, or email once a week. Your parents will appreciate knowing that you are thriving.
    Don’t look for teachers to become surrogate parents, however; that is not their job. They are neither your friend nor your counselor. Their purpose is to motivate and instruct so that you can become the best instrumentalist possible. That may mean that they have to come down hard on you from time to time. After all, if all they said was how wonderful you are, you wouldn’t be learning anything. Right? So accept criticism graciously, and try to make the changes they suggest. I went from being a big fish in a small pond in high school to a college where I was a small fish in a big pond. It was a huge transition for me, but it made me a better musician. You can do it too.
    After I graduated from college, I moved to Chicago and took some lessons from the legendary Arnold Jacobs. I remember vividly walking under the L-tracks on Wabash after the first lesson and thinking what I had just heard was pretty heretical. (I was an Indiana University graduate and thought I had arrived.) What Jacobs told me went against much of what I had learned in school, so I had this little conversation with myself. I basically said, “You have just spent a ton of money for advice from this man, so you better give it an honest try. Give it a week or two, and then decide whether to make these changes.” Thank God I followed my own advice; his suggestions made all the difference in my lung capacity and ability to play long solos, such as Debussy’s Faun in one breath.
    So off you go; make the break and embrace the new. You will never have this kind of freedom again to explore new avenues, learn new concepts, practice for hours on end, and grow into the mature musician you want to be. Have fun and work hard. Remember, those two things are not mutually exclusive.

The post A Letter to College Freshmen Everywhere appeared first on The Instrumentalist.

    Because of its size, weight, and playing position, the bassoon can be difficult for a player to support while playing. The vast majority of bassoonists in North America learn to play the bassoon using a seat strap. Among other limitations, the big drawback with using a seat strap is that it prevents playing while standing. This article explores the available options for supporting the bassoon and compares the pros and cons of each.

The Bassoon’s Differences
    Most woodwind instruments are supported by the player’s right thumb, either directly or with a thumb rest. For woodwinds of larger sizes, such as the English horn and larger saxophones, a neck strap may be used in addition to the thumb rest.
The bassoon requires a different approach. The instrument consists of two parallel bores, and it must be positioned in a different orientation from other woodwind instruments. When playing the bassoon, the player’s right thumb is not positioned beneath the instrument, and all ten fingers are needed to operate keys or tone holes. Therefore, an alternative method for supporting the instrument is necessary.
    There are two possible ways to support the bassoon without using the fingers. The first way is to support the bassoon from above, hooking on to somewhere near the middle of the instrument. For this approach, a neck strap, shoulder strap, or harness can be used. The second way is to support the bassoon from below, near the boot end of the instrument. For this approach, possible options include the seat strap, spike, or stand.
    For centuries, the most  popular solution across the world has been to support the weight of the bassoon with the player’s neck, through the use of a neck strap (in England, this is known as a sling). The neck strap hooks on to a ring at the top end of the boot joint. Variations on this approach include the shoulder strap, which is worn diagonally across the body, and the harness.

The Seat Strap
    In North America, however, most instructors teach bassoon students to play using a seat strap. This strap is secured on the seat by the player sitting on it, and a cup or hook connects the seat strap to the end cap of the boot joint of the instrument. 
    The idea behind using the seat strap is to alleviate the neck from having to support the weight of the bassoon.  The bassoon has become heavier over the centuries, and many students find that it is physically tiring to hang the instrument from the neck. The seat strap allows students to avoid this burden.
    However, the seat strap also has the big disadvantage of preventing the bassoonist from playing in a standing position. A bassoonist who depends on a seat strap will have to play everything, even solos, from a seated position. I find that it looks odd for a bassoonist to perform a solo or a concerto while sitting.
    Another disadvantage to playing with a seat strap is a lack of flexibility and difficulty with making fine adjustments. Because the fulcrum is at the butt end of the instrument, far away from the center of the instrument, any fine adjustments made to the playing position may cause relatively large changes to the position of the reed. Fine adjustments to playing position are also difficult because the player has to become unseated to set the seat strap free and then sit down again after the adjustment is made (and this process may need to be repeated). As a result of these problems, the playing position and the angle of the reed can be compromised with students who rely on a seat strap. A further problem with using a seat strap is that it requires the left hand to support the weight of the instrument, and this sometimes leads to strain and injuries.

The Neck Strap
    Unlike the seat strap, a neck strap will allow bassoon players to make fine adjustments to the playing position, since the fulcrum is close to the center of the instrument.  The bassoonist can independently adjust the length of the neck strap as well as the angle of the instrument. These adjustments allow the reed to enter the embouchure in a more controlled way.
    Neck straps also make it possible for bassoonists to perform while standing. Playing in a standing position allows for better breathing, which is why singers typically perform while standing.
    Some players use a balance hanger so that the bassoon can be hung from the neck strap at a location closer to the center of gravity of the bassoon.  Variations on the neck strap include the shoulder strap, which is worn diagonally across the player’s chest, and the harness, which is like a four-point safety belt. These variations help to alleviate strain on the neck from the weight of the bassoon, but they may place a bigger constraint on the chest. (These options also may not be favored by female players.)
    Neck straps are also more comfortable now than they used to be. Long ago the only neck straps available were thin leather straps, which could be uncomfortable during prolonged playing. Now, wide leather neck straps, as well as saxophone-type neck straps with plenty of padding, are readily available.

Recommendation
    In my opinion, every bassoonist should be able to play while standing. Therefore, I would advise that any bassoonist who primarily uses the seat strap while playing should also learn to use a neck strap (or shoulder strap or harness).  

The post Balancing the Bassoon appeared first on The Instrumentalist.

Left-Hand Efficiency
    1. Left-hand fingers should be kept close to the string. Many young players let the third and fourth fingers curl into the hand or fly away from the fingerboard. In fast passages this means that they are not in the right place, ready to go when they are needed. Work on left-hand efficiency by placing the first finger on the string and leaving it down while tapping the second or third fingers on the fingerboard. Look for places where the first finger can stay rooted on the string while the other fingers play patterns. Practice trills between the first and second finger, keeping the second finger close to the fingerboard.
    2. Set up as many fingers as possible before starting a passage. If a phrase starts with the third or fourth finger, have the index finger prepared to go down on the string at the same time. This improves intonation and creates a stable hand frame. Scan each passage for fingering challenges: fourth-finger extensions, augmented seconds, or half-steps. Position the hand for the most difficult aspect of a phrase. The knuckles of the hand should be parallel to the fingerboard, allowing the fingers to hover just above the strings.

    3. To shift at a fast tempo, students should prepare by bringing the elbow around the instrument. Fingertips should release immediately before a shift. To practice this release, have students place the third finger in first position on D natural on the A string. Play a solid note for half of a bow and then switch to a natural harmonic. When students feel this lighter harmonic touch in the fingertip, they can shift up to third position. Then allow the third finger to fall into the string to create the pitch F sharp.

Right-Hand (Bow) Efficiency
    1. For faster notes, students should use less bow and avoid big arm movements. Have them lean the upper right arm against a wall and articulate short strokes in the middle of the bow. Once the upper arm and elbow are stable, the hand can move independently.

    2. To work on efficient string crossings, place the bow on a string and then move the bow from string to string without making a sound. Set the elbow at the D string level and practice pivoting from the highest to lowest string using only the hand.

    Once players are able to play efficiently at a slow tempo, there are many practice techniques to help them learn to do it fast.

Practicing
    1. Three-speed practice is a valuable method for increasing fluency. Take a simple left-hand pattern and play it twice in quarter notes, four times in eighth notes, and eight times in sixteenth-notes.

During the quarter note version, players can concentrate on left-hand efficiency, making sure that the first finger is held down throughout. The eighth-note version allows players to find the flow of the pattern, while the sixteenth-note version challenges coordination. Three-speed practice can also be applied to longer phrases. Find a slow tempo where a passage can be played without mistakes. A medium tempo develops a sense of line and a fast tempo reveals technical inefficiencies.
    2. A moveable fermata can be inserted into fast passages as a practice tool. In the following example the moveable fermata is placed on the first note of each group of sixteenths.

The fermata should last one quarter plus one sixteenth note so that the exercise can be played with a metronome. During the fermata, students scan ahead and plan the next three notes. After practicing with the fermata on the first note of each group, move it to the second, third, or fourth note. Advanced players can move the fermata around for each group.

    3. Practicing in small groups or chunks is a great way to learn music quickly. In the next example a rest is placed between each group of four sixteenth notes. During the rest, scan the next group and prepare the left-hand accordingly.

Practicing in groups combines mental preparation with physical drill. Practice each group at least two times, trying to make the second execution clearer and more efficient than the first. Also try to play each group faster than the goal tempo. Practicing faster than the desired tempo makes the goal tempo feel effortless. To work on putting the chunks together, add a note to the end of each group. This overlap exercise drills continuity and flow between the beats.

This type of exercise drills continuity between the beats. When practicing in groups, play each passage separate bows and slurred.
    4. Part of learning to play fast is mental preparation. Without the instrument, have students sit down with a score and scan through a piece imagining playing it quickly. They should try to hear the pitches in their heads and feel the motions in the arms without actually moving. The goal is to stop reading every note and sense patterns and overall shapes instead. Then put on a recording and have students practice the piece without the instrument, miming the playing technique. It is also helpful to have music partly or fully memorized when trying to play fast.
    Playing fast in orchestra requires the same type of efficiency as solo playing. Remind string sections to use efficient left- and right-hand movements. Students should use less bow for short notes and play in the same part of the bow as the rest of the section.       
    Three-speed and chunking practice can also be used as rehearsal techniques for ensembles. Through the organization of movement and creative practice, players will learn to experience the joys of playing fast.

The post Learning to Play Fast appeared first on The Instrumentalist.

    Woodwind doubling is a valuable pursuit that creates new opportunities for woodwind players. For players interested in doubling, pairing the clarinet and the saxophone makes sense because the instruments have a close relationship and several ready-made doubling opportunities exist.

Learning a Second Instrument
    Although clarinet playing and saxophone playing have some common ideas and approaches, they are separate instruments with distinct traditions and should be approached as such. Some prospective doublers may worry that adding a second instrument will be detrimental to playing the first and may even have been warned away from doubling by a well-meaning teacher. There is no reason to be concerned that one embouchure will be ruined by learning another, or that learning a new set of fingerings will cause an old set to be forgotten. The lips, tongue, and fingers are more than able to carry out more than one task.
    The greatest technical difficulty in switching between instruments is simply getting into the correct mindset for each one. A clarinet-like embouchure produces a poor sound on the saxophone, and a saxophone-like approach to fingerings will be less effective on the clarinet. However, if these techniques have been thoroughly and correctly practiced, a musician can easily switch between the two.
    The best way to learn a second instrument is under the advice of a private teacher. A clarinetist who has spent years studying the instrument cannot expect to master the saxophone in a matter of weeks or months without instruction. When beginning study of a second instrument, establish a regular practice routine supported by weekly lessons, and work gradually from the most basic materials to the more difficult. It is crucial to be a beginner on each instrument. There are no shortcuts. Some fundamental concepts may be carried over in a theoretical way, but they will still require practice to apply them to the new instrument.
    In any case, the aspiring doubler’s greatest advantages in learning another instrument have little to do with superficial similarities in technique, but much to do with general experience as a student and musician. An accomplished musician studying a second instrument will already understand the value of methodical daily practice, development of a strong tone through years of listening, and the use of technique as a means to expression.
    The only genuine harm caused by playing a second instrument is in spreading resources too thinly, because practice time must be divided between instruments. However, with patience a doubler dedicated to the craft can, in the long term, play as well as the best saxophonists and the best clarinetists.

Equipment
    Obtain the best possible instrument and accessories. A common misstep is to seek out equipment labeled for doublers. A clarinet mouthpiece advertised this way will likely have some saxophone-like characteristics in an effort to make the mouthpiece work better with a saxophone-like approach to playing. This may seem like a tempting shortcut, but it breeds laziness in learning a true clarinet embouchure and inhibits development of genuine clarinet technique.
    Other equipment may be marketed to doublers due to purported qualities like easy response or effortless intonation seem to imply that purchase guarantees success without additional effort. In short, the best clarinet mouthpiece for doublers is ultimately just the best clarinet mouthpiece.
    Another common mistake is ill-informed equipment choices. While clarinets from one instrument maker might be embraced by fine clarinetists, this is no guarantee that saxophones from the same maker are equally well regarded. This applies to mouthpieces and other accessories, as well as pedagogical materials and repertoire. The best approach is to seek the advice of a qualified private teacher before making purchases.

Voicing
    Proper voicing technique, or tongue position, is often overlooked, but it is fundamental to response, intonation, and tone. Because voicing happens inside the body, it cannot be easily observed, but it can be understood in terms of some common activities. We use the mechanisms of voicing to produce different vowel sounds when we speak, to produce different pitches when whistling, or to blow air of different temperatures. Proper voicing of each instrument should generally be stable and require little change while playing; only the smallest adjustments are made to adjust pitch of individual notes or to ease some transitions between registers.
    Incorrect voicing is one of the biggest obstacles for clarinetists learning to play the saxophone and vice versa. The clarinet’s voicing is extremely high, and most other wind instruments (flutes, double reeds, brasses) use a voicing that is quite low. Saxophones require a voicing target somewhere in between. Saxophone voicing is sometimes described as being similar to an oo or er vowel, but the best way to establish the correct voicing is to find the correct mouthpiece pitch. When a note is played on the mouthpiece alone, the following concert pitches should sound for soprano, alto, tenor, and baritone saxophones:

    Warm air lowers the mouthpiece pitch, and cooler air raises it. This may take some practice; just a few minutes per day over several weeks is recommended to avoid straining. The pitch should not be adjusted by opening or closing the jaw or tightening or loosening the embouchure, as these actions make both tone and response worse.
    For saxophonists playing the clarinet, voicing problems often result in an unstable pitch tending toward flatness, a tubby and uncharacteristic tone, and poor response in the upper registers. The clarinet’s voicing should be as high as comfortably possible, as though attempting to blow fast-moving, ice-cold air. This exercise may help saxophonists learning to play the clarinet:

    All three notes in each grouping should respond readily, clearly, and reasonably in tune. If the higher notes are difficult or significantly flat, the voicing is likely too low. Note that the voicing should be high for the entire exercise, not just for the high notes.

Embouchure
    The clarinet and the saxophone embouchures are formed with the muscles of the lips around the mouthpiece and reed; any pressure exerted should come from these precise muscles, rather than from the jaw. The lips form a seal around the mouthpiece and reed that is just barely airtight, preventing air leaks but also allowing the reed to vibrate.
    There is a prevalent misconception that the lower lip rolls over the lower teeth to be used as a cushion between the teeth and reed, but if the teeth are pressing into the lip, causing pain and ultimately callousing, then the reed is not being permitted to vibrate freely enough. Excessive jaw pressure is to blame for this. The jaw should be opened enough that the lips can form the embouchure without the interference (sometimes mistakenly characterized as support) of the lower teeth.
    The first embouchure difficulty for clarinet-saxophone doublers is the significant difference in mouthpiece angle. The clarinet is held at a relatively steep angle, generally within about 30° of vertical. This can give the impression of an embouchure in which the player is attempting to pry out the front teeth (although no such pressure should be applied). The saxophone’s mouthpiece angle is much more horizontal, although it does angle somewhat upward into the embouchure. To find this angle, assume a good upright posture, allow the saxophone to hang from the neckstrap, and then situate the right hand on the keys. Bring the right hand forward until the right hand and arm are in a comfortable, natural position, usually with the hand a bit in front of the body, with the right thumb applying some forward pressure on the instrument. Then adjust the neckstrap until the tip of the mouthpiece comes directly to the mouth.
    The difference in mouthpiece angle raises two primary concerns for doublers. The first is posture, as there is a tendency for saxophonists to allow the head to bow downward when playing the clarinet and a tendency for clarinetists to allow the right hand to drift backward when playing the saxophone. In both cases this allows the player to fall back on a more familiar but incorrect mouthpiece angle.
    Mouthpiece angle also affects articulation. The tip of the reed has a somewhat different location inside the mouth for the clarinet than it does for the saxophone, and the precise tongue movements for articulation must be adjusted accordingly. Articulation must be carefully practiced and refined on each instrument separately to ensure that it is light, fast, and efficient.
    There is a myth that the clarinet’s embouchure should be tighter and the saxophone’s looser. This is best understood as a miscommunication of the instruments’ differing approaches to voicing. In both cases the embouchures, formed by the lips, should be just tight enough to prevent air leakage.
    The amount of mouthpiece taken into the mouth is another area of concern, as it is a habit easily transferred erroneously to a new instrument. The exact amount of mouthpiece to take in varies depending on the specific mouthpiece. In general, single reed players struggling with muffled tone and limited upper dynamic range should try taking in a little more of the mouthpiece, and those with blaring tone and limited softer dynamics should experiment with taking in less mouthpiece.
    Another method for determining the approximate amount of mouthpiece to take into the mouth is to slide a piece of paper between the reed and mouthpiece just until it stops, at the point where reed and mouthpiece meet. This location is a good starting point for further experimentation on where on the reed to place the lower lip.

Finger Technique
    For both clarinet and saxophone, finger movements should be relaxed, efficient, and precise. Some doublers think that learning another instrument’s fingerings is simply a matter of memorizing a fingering chart, but this is far from the truth. Fingering patterns should be conscientiously trained until they feel automatic and natural, and there are no shortcuts to this. Even the most accomplished musicians, when learning a new woodwind instrument, should work through a beginner-level method book first, playing each exercise with care, and then work on intermediate through advanced technical and expressive studies. Moving too quickly to advanced material leaves serious gaps in technique.
    There are some considerations on finger height that are important to doublers. For the clarinet in particular, keeping the fingers reasonably close to the toneholes is necessary for accuracy. As the fingers stray from the holes, it becomes more difficult to return the fingers to those holes with precision. Squeaking, a common problem for beginning clarinetists, is frequently blamed on embouchure but can much more often be solved by covering the toneholes completely. The flat, fleshy surface of the finger’s distal joint, not the very tip, should be used, and keeping the fingers relaxed is more effective than squeezing. Sometimes errant fingers can be spotted by a teacher or seen in a mirror by the clarinetist, but visual inspection cannot identify all leaks. Experimentation may be necessary to locate the culprits.
    The saxophone’s large and hard-to-miss keys make accurate finger contact much less of a problem, although finger precision does offer subtler benefits in control and consistency. Because the saxophone’s larger and heavier keys often mean it is equipped with stiffer springs than the clarinet, a suitable amount of finger force must be practiced separately for each instrument. Ideally for both clarinet and saxophone, each finger should move swiftly but hold its tonehole or key closed with no more than the minimum pressure required.
    Unnecessarily large movements of the fingers can also lead to tension. At every point in a finger’s movement, it should have a natural and relaxed curve. As a finger moves too far from its key or hole, more muscular effort is required. When the finger does finally close the key or hole, it is more likely to hold it closed with undue pressure. This tension makes the fingers move more slowly and clumsily and can spread into other parts of the body.

Fingering Selection
    The saxophone’s fingering system uses fewer alternate fingerings, instead using rollers and palm keys to allow fingers to perform multiple functions, while the clarinet system depends more heavily on alternate fingerings and less on sliding or rolling fingers from key to key. Still, the two systems have much in common, and while this has benefits for doublers, it also has significant pitfalls.
    For the saxophonist learning to play the clarinet, it feels natural to play written C5 with the right little finger and B4 by adding the left pinky; this parallels the saxophone’s lowest-octave C and B fingerings. However, good clarinet technique takes equal comfort with the left-hand C and right-hand B keys. It also does not require the C key to be used while playing the B, and in some cases actually necessitates that the C key be released so that the finger can be moved into position for the next note. The nature of the clarinet’s fingering system requires a more rigorous approach to planning ahead which fingering to use. The Complete Method by Klosé addresses these issues methodically in its “Exercises of Mechanism” and “Practical Exercises.”
    On the other hand, a clarinetist learning the saxophone might be reluctant to use fingering options that are crucial to that instrument’s technique but do not initially appear as tidy and methodical as the clarinet’s, such as the bis Bb key or the little fingers’ arrays of roller-equipped keys. Mastery of the saxophone’s fingering system requires thoroughly practicing the movements needed for use of these keys until they feel confident and controlled. The DeVille Universal Method is one time-tested source for exercises addressing the saxophone’s specific fingering difficulties.

Conclusion
    With motivation and discipline, a woodwind player can reach a high level of playing on several instruments. The clarinet and saxophone make an especially marketable pairing, leading to a variety of musical opportunities, and provide an excellent starting point for woodwind players interested in eventually adding flutes and double reeds.

The post A Guide to Doubling On Clarinet and Saxophone appeared first on The Instrumentalist.

Three Beginning Hand Position Exercises
Curly Fingers
    To do the Curly Fingers exercise, gently place  each finger, one at a time, into a curled position as shown in the pictures on the right. The fingers should stay straight at the knuckle, with the end joints in the fingers doing all of the bending so that the fingertips touch the palm. Be careful not to place excessive pressure on the finger to achieve a tight curl. Instead, just bend the finger to a curled position that does not cause any discomfort or pain, keeping in mind that some fingers are not as curly as others. Hold this curled position for a few seconds.

The Claw
    The Claw position is shown in the two pictures below. Notice that the fingers do not bend at the big knuckle, but rather at the middle upper joints. Hold the Claw in place for a few seconds and then release and relax the fingers. Repeat the hold and release positions five to ten times.

The Splits
    In this exercise the fingers should be stretched apart as demonstrated in the two pictures below.

Students should be careful not to force the fingers any further apart than is comfortable. At no time should this or any other exercise cause discomfort or pain.
    These first three exercises should take only a couple of minutes to complete, and they provide an excellent hand warm-up routine.

A Second Set of Exercises – with Rubber Bands
    The next exercises are also short, simple, and effective. If time permits and if the need arises, directors may include five to ten repetitions of these exercises into a pre-rehearsal warm-up (or these exercises can be practiced independently by any students who have difficulty with their hands).
    One helpful technique with these exercises is to use two rubber bands that are three inches long as a way to create resistance. One word of caution is that students should not use standard size rubber bands for these exercises. A standard size rubber band will be too small, put too much stress on the fingers, and could easily cut off circulation.
     A good first exercise with rubber bands is to open two rubber bands and place both together around the outside of the fingers and thumb at the little end joints.

With the fingers beginning in this position, the student should flex the fingers outward as far as possible, keeping the rubber band in place, and then retract to the previous position. The flexed position is shown below.

     In the next exercise, place the four fingers through the rubber band and make a double twist in the rubber band between each finger as shown below.

     Next, with the hands lying on a flat surface, palms down and fingers together, the four fingers and thumb should be stretched apart as far as comfortably possible, as shown here.

Then the fingers should slowly retract back to the original position.  
    With the rubber band in the same position as in the previous exercise, place the hands and fingers on a flat surface. From this position, lift each finger individually up and down ten times while the remaining digits lie flat on the even surface. As you might predict, the ring finger will be the most challenging to lift.

    The next set of exercises can also be done in five to ten repetitions, with or without a rubber band. If a rubber band is used, its position in these exercises should be slightly different from the previous set of exercises. It should be placed around the thumb, with the index finger and the second finger making twists in the rubber band between each finger as shown below. Place both hands on a flat surface with the palms down and fingers extended and the thumb resting next to the hand. Next, slide the thumb out and down so that it is approximately 90 degrees with respect to the hand as shown below.

    Then return the thumb back to its original position beside the hand. 

    For the next exercise, the rubber bands should be placed around the same three digits as described above, and both hands should be placed palms down, flat on a table. Slide the thumb so that it is approximately 90 degrees with respect to the hand as shown in the picture above. Next, lift the thumb up off of the table and then down, making sure to keep the palm and fingers flat on the table.
    In the next exercise, keep the rubber band around the same three fingers, as described above, and then place the outside edge of the hand on the table so that the sides of the hands and sides of the little fingers are resting on a flat surface with palms and extended fingers parallel to each other. Then make a circular motion with the thumbs, both clockwise and then counter-clockwise. The challenge in this exercise is to keep the hands perfectly still and the fingers straight, as shown at the bottom of the previous page, while the thumb moves in a circular pattern.

A Third Set of Exercises – with Play-Doh
     A third set of exercises requires the use of about ½ cup of very soft, pliable Play-Doh or a similar modeling compound. Be sure to replace the Play-Doh whenever it begins to lose moisture and become stiff. If the clay becomes too stiff, it will put too much stress on the hands during the exercises.
     For the first exercise, roll the Play-Doh into a ball, place it in the palm of your hand, and squeeze your hand shut to make a fist. The Play-Doh should ooze out around your fingers.

    Next, roll the Play-Doh into a ball and place it in the palm of your hand. Squeeze it into the palm of your hand with your fingers as you keep them straight from the middle joint to the finger tips.

     For the next exercise, roll the Play-Doh into a cylinder, place it across the inside middle joint of all four fingers, and make the Claw, as described in the first set of exercises above. Squeeze the Play-Doh by bending all finger joints except the big knuckle at the base of the fingers.

     Next, roll the Play-Doh into a cylinder. Place the cylinder between your index finger and second finger, and then squeeze the fingers together until the inner surfaces of both fingers are touching, as shown below.

     Repeat this step by placing the cylinder between the second and ring finger, and then try it again, placing it between the ring finger and little finger. The hand should not make a cupping shape during this exercise. To help avoid this, try performing the exercise with the palm face down on a flat surface.
     For the next exercise, roll the Play-Doh into a cylinder again, and use the thumb and index finger to pinch the cylinder five times. Roll the clay back into a cylinder, and then repeat this pinching exercise using the thumb and second finger, followed by the thumb and ring finger, and finally the thumb and little finger, as shown below.

A Final Exercise or Game
     The Snowball Fight is a fun hand exercise that can be done as a contest or game to help students practice dexterity and coordination. A station can be set up in a small area of the classroom for this activity. The only material required is four different colors of small soft cotton pom-poms approximately ½ inch in diameter. (These are available at any hobby or craft store.) After designating a specific color and number of poms for each of the four fingers, students should use their thumb and one finger to flick the pom at a target. The target could be a particular object, goal, or even another student. The winner of the Snowball Fight is the one who is able to flick all of the snowballs at the target with the thumb and finger of the assigned color.

     Surprisingly, this game is not as easy as one might think. As students play, they will be making a good effort to improve hand strength, flexibility, and dexterity, which will ultimately help to improve their performance technique.

Learning to Warm Up as Athletes Do
     Athletes always take the time necessary to warm up their muscles before they begin to exercise or compete in their sport. Effective warm-up routines facilitate the skill sets that a given sport requires. Just as important, warming up the muscles helps to prevent injury. Just like athletes, instrumentalists will be well served if they take the time to practice regular warm-up exercises. For instrumentalists, the essential physical asset they need to maintain is their hands.
     Any of the exercises described above can easily be incorporated at the start of an ensemble rehearsal. The nominal amount of time it takes to implement a good warm-up routine for the hands is a small price to pay to avoid possible repetitive motion injuries. In addition, these exercises help students to reap the benefits of developing and maintaining the necessary strength, dexterity, and flexibility required for successful performance.

     The author would like to acknowledge the assistance of Susan Ransbottom-Witty, Occupational Therapist and Certified Hand Therapist, who helped with the preparation of this article.

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    Often recognized as one of the 100 most popular marches in the band repertoire, Block M Concert March for Band by Jerry H. Bilik (Alfred) continues to bring sincere delight to band members and audiences. The Block M is the symbol for the Michigan monogram and was written for the University of Michigan Band’s annual Variety Night concert while the young composer was still an undergraduate student there. It became Bilik’s first published work in 1955 as he began an extremely prolific career that has spanned into the 21st century.
    Born in New Rochelle, New York, on October 7, 1933, Jerry Bilik attended the Interlochen Center Music Camp as a high school student before completing both his BME and MM degrees at the University of Michigan in Ann Arbor. He credits Tibor Serly, former student and apprentice of Bela Bartok, as his most influential composition teacher. A “17th trombonist”1 as he describes his freshman year position in the University of Michigan marching band, he found a niche as a composer and arranger, first serving in the latter category with the West Point Military Academy Band before returning to Michigan to join the composition faculty and later teaching at Wayne State University. Along with works for chamber ensembles, orchestra, and choir, his other compositions for band include American Civil War Fantasy, Concertino for Alto Saxophone and Band, American Variations, Symphony for Band, Rhapsody on Russian Folksongs, and the M Fanfare performed regularly at athletic events at Michigan.
    He has been chief arranger for the Emmy and Academy Awards programs, the Ringling Brothers’ Barnum & Bailey Circus, and 35 ice shows including the Wizard of Oz On Ice and Disney On Ice. He served as arranger for television shows including Starsky and Hutch and the original Charlie’s Angels and also did arranging for such movies as Vegas Vacation and My Side of the Mountain. During his career, he worked with Harry Connick, Jr., Johnny Carson, Danny Kaye, Dick Van Dyke, Neil Diamond, Bobby McFerrin, Barbra Streisand, Siegfried & Roy, and Leonard Bernstein.
    At a difficulty level of 3-4, this 141-measure gem in Bb begins with an eight-measure introduction, followed by a first strain, second strain, modulation to Eb at the trio, and fight strain or “dog fight,” before concluding with a standard trio recapitulation. At the suggested tempo of half note = 152 and set in cut time or alla breve, the composer suggests a duration of 3:30. The instrumentation is also standard but includes parts for Eb clarinet and string bass.
Four players will be needed to cover the percussion parts which consist of four timpani (tuned to F, Bb, C, Eb), snare drum, crash cymbals, and bass drum. The snare drum should be played with medium-weight sticks, preferably with wooden tips; this allows the part to be heard without sounding too thin or too heavy. Avoid using skinny drumset sticks, which lack the depth of tone required for most concert band or orchestral playing. Also avoid marching sticks, which are simply too heavy when performing an indoor concert march. Be sure to tune the bass drum so that it has some resonance, unlike the tight sound often preferred for marching.
    A common misconception in percussion performance is that the timpanist should use hard sticks whenever the dynamic in any piece is forte or louder. Hard felt timpani sticks, sometimes referred to as staccato mallets, are intended for passages where rapid, precise articulation is required and not simply for more volume. As a general rule, the harder the mallets, the less body or fullness of tone is produced. For this march, it is recommended that medium mallets be used from beginning to end. When the volume reaches fortissimo, simply ask the timpanist to stroke the timpani from a higher level to achieve the required louder dynamic without sacrificing the much preferred full-bodied tone quality.
    The standard ternary (ABC) form of this classic march lends itself to an exceptional educational opportunity for the innovative band director. To begin to instruct your students about basic march form, take five minutes of an early rehearsal and explain the principal sections of the work. Then have students write into their individual parts where each of those sections begins:

Introduction: measure 1
First Strain: measure 9 (A)
Second Strain: measure 43 (B)
Trio: measure 60 (C)
Fight Strain: measure 94 (D)
Trio Recapitulation: measure 110 (E)

Then in the ensuing rehearsals, make a practice of referring to the passages being addressed and drilled by their structural name rather than by just a rehearsal letter or number. Your script might go something like this.
“Our tempo is slowing during the trio section. Let’s start at the beginning of the trio.” “Percussion, be sure to make your entrance prominent at the measure before the Fight Strain. Let’s begin right there.” Almost effortlessly, the students will become familiar and comfortable with these important formal sections of a standard march simply by addressing these sections in rehearsals as if students were professional musicians.
    Rehearsal and performance challenges begin with the determination of a suitable tempo. The composer suggested tempo of half note = 152 can be a bit brisk rhythmically in the opening measures when performed by double-tonguing cornets and trumpets in unison with single-tonguing woodwinds. If these players are still in a developmental stage, some slight compromise may be necessary to make the introduction sound clean, separated, and energetic. All musicians should observe the sudden mf in measure 8 to make an effective transition into the first strain. On the repeat of the same strain,  the dynamic drops from mf to p.
    At 43 (the second strain) the low brass, horns, and bassoons should rise to a controlled ff level while the remaining woodwinds and cornets return to mf. All woodwind trills beginning in the second strain and continuing throughout the march should have sizzle and enthusiasm. I suggest instructing these musicians to begin each with an accent, trill rapidly, and even perform a slight crescendo through each one.
    The trio at 60 introduces a traditional modulation up a perfect fourth to Eb, a dynamic drop to pp and a more legato style, both of which traditionally result in an unintended slowing of the tempo. Address this tendency during the first reading of the march to begin to teach players about this unacceptable diminution of pulse. In my article “The Art of Guest Conducting” from the February 2005 issue of The Instrumentalist, it is stated that addressing steady internal pulse is one of the initial items Frank Battisti attacks when conducting an honor band.2 Techniques for developing this steady internal pulse include using a loud metronome while students play, having students sing their parts while a quieter metronome clicks the required steady tempo, and simply stepping away from the podium. These should be used right from the first rehearsal to encourage students to keep the trio tempo steady.
    An interesting phenomenon frequently happens in an early rehearsal at the first ending of the trio. The cornet and trumpet sections, which have been resting for 30 measures, often miss their important first ending entrance. Prior to the initial reading, remind them to switch to cup mutes during the opening of the trio and to count carefully so that their prominent entrance is solid and convincing.
    Although the percussion part suggests an optional snare drum part played with brushes at the trio, many conductors opt to leave this out entirely with the snare drum (using sticks), bass drum, and timpani introducing the fight strain at 93 at a decidedly ff level.
An interpretive suggestion for the performance of the trio and trio recapitulation is to add a two-measure crescendo followed by a two-measure diminuendo when playing the whole notes in the first four measures of the new trio theme and whenever it is repeated thereafter. However, the quarter- and eighth-note rhythms that follow should be separated even throughout the trio. Further note that the dynamic increases to mf following the first ending, but the addition of the cornets will probably assist with that step-up in dynamic level.
    For a refreshing twist to the performance of this classic march, consider placing a sudden and abrupt grand pause after the first beat of measure 108. Then place a fermata over each of the following three half notes. The last fermata should be played a bit longer than the first two and might include a slight crescendo. You can ask the timpanist to add a roll to that final half note, as well. Then, on the downbeat of measure 110, return to the original tempo. Perhaps this sounds like a splash of Hollywood, but it can prove extremely effective and add a bit of suspense and excitement to a performance. Considering Jerry Bilik’s heralded career in show business, it could be said that this modification stays true his style of arranging.
    The trio recapitulation begins at a dynamic level of fff. Caution students (especially the salivating trombonists) not to overdo this enticing marking but to maintain a controlled and well-blended sound even at this stronger dynamic level. As your performance reaches the climactic stinger, consider changing the final quarter in the snare drum to a flam or a single-stroked four-stroke ruff. This will match and enhance the grace notes in the upper woodwinds.

Errata
Measure 43: The percussion part should have mf added.
Measure 60: In the score and 2nd and 3rd clarinet parts, change the dynamic from mp-mf to pp-mf to match the first clarinet.
Measure 60: In the 1st and 2nd horn parts, change mp-f to mp-mf.
Measure 60: In the score, add “optional snare drum with brushes” (original Belwin edition only).
Measure 87: Consider adding accents over both half notes in all horn parts to match bassoon, basses, and string bass.
Measure 93: In the score and snare drum parts add “with sticks.”
Measure 137: Consider adding accents to both half notes in the piccolo, flute, oboe, Eb clarinet, Bb clarinet, alto clarinet, alto sax, tenor sax, baritone sax, cornet, trumpet, horn, trombone, baritone, cymbal, and bass drum parts to match the bassoon, bass clarinet, bass, string bass, and snare drum parts.

Endnotes
1“Scenes from An Interview: Jerry Bilik” by Gus Mollasis. Scene (Sarasota) Magazine, September, 2013, page 48.
2“The Art of Guest Conducting” by Gary Stith. The Instrumentalist, February 2005, page 15.
3“Scenes from An Interview: Jerry Bilik” by Gus Mollasis.

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    Timothy McAllister is soprano saxophonist of the PRISM Quartet and a major performing artist, appearing with ensembles and symphony orchestras worldwide, beginning with a solo debut with the Houston Civic Symphony at age 16. He is the newly appointed associate professor of saxophone at the University of Michigan and is also an adjunct professor at Northwestern University, where he was previously associate professor of saxophone and co-director of the Institute for New Music from 2012-2014. McAllister earned a Doctor of Musical Arts and other degrees in music education, conducting, and performance from the University of Michigan, where he studied saxophone with Donald Sinta and conducting with H. Robert Reynolds.

How do you recommend teaching the saxophone embouchure to beginning students?
    It is important to identify the role of the chin, the amount of lower lip over the teeth, and how the corners of the mouth should be immediately. Students who develop bad habits in these areas end up spending years trying to correct them. Keep the chin down, flat and forward while keeping the lips in a phoo position. That combined with the corners in a ooh position while keeping space between the molars provides the most resonance and vibration from the reed.

What are the most important things for saxophonists to learn early in their study of the instrument?
    It is crucial for a young saxophonist to understand what a correct sound is. Playing in the school band means the saxophone tone should conform to a classical style, but students frequently have the sound of pop or jazz saxophone in their minds even before they even begin study of the instrument. This can put them at a disadvantage compared to students playing other instruments, who may not have preconceived notions of how their instrument should sound. The other important thing to learn early is how to play with good intonation.

What are some of the most common problems you have encountered with beginning saxophonists?
    Beginning players tend to move too quickly. They often move easily through their beginning band instruction books without addressing posture, air support, embouchure, and hand position more carefully. This can create many bad habits that must be corrected later when the demands of the music they are playing increase dramatically.
    The biggest concern I have for saxophonists in modern times is that the instrument is easy to start on, but it is extremely difficult to address fundamentals at the highest level. This is untrue for trumpet or flute; if you approach those two instruments incorrectly, it will be impossible to make a decent sound on them, and for flutists and trumpet players, the early groundwork is difficult enough that they develop a strong, steady work ethic as they mature. Saxophonists have it easy for a while, but then it becomes extremely difficult to master more difficult concepts, often leading to great frustration at a later age.

How do you suggest that teachers who are not primarily saxophonists approach these difficulties?
    Teachers should educate themselves on key players and recordings for all instruments, so students have something to look to for great models. The saxophone reference materials available now are better than ever. Educators can look both to the gold standard books of old, such as Larry Teal’s The Art of Saxophone Playing, and couple it with a newer method like Donald Sinta’s Voicing: An Approach to the Saxophone’s Third Register.

What tips would you offer saxophonists on producing good characteristic sounds?
    The quickest tip takes patience, appreciation, and  the longest amount of time to practice: long tones. Students should never take short cuts with tone development. I tell advanced high school and college players that they should spend 30-45 minutes a day on long tones and careful tuning with a high-quality tuner. Slow scale work should be done before moving to faster scale routines; this way, saxophonists can focus on even control and tone quality. After that, mouthpiece exercises can quickly improve tone. Playing scales and tunes on the mouthpiece along with using changing vowel positions and shifts in the direction of the airstream without lip pressure change can begin teaching body awareness. Students should consider what the tongue and throat are doing to produce various sounds.

What equipment do you recommend for middle and high school saxophonists?
    Go with a high-end mouthpiece as soon as possible. It is the easiest and best upgrade one can make. Avoid entry-level mouthpieces that are cheap plastic blends with questionable intonation. It is probably better to upgrade to more professional level reeds as soon as possible, too, such as Rico Classic Reserve or Vandoren Traditional reeds. After that, look for a high-quality ligature such as BG, Vandoren, Bay, or Rico. The right ligature can be great for projection and control.

Is it a good idea to start beginning players on a professional-model instrument?
    Until a student has a clear sense of how serious music will be for them, it is better to hold off on the great expense of pro-line horns. Student/intermediate lines are quite effective at providing a bit less resistance, and the ergonomics of such instruments fit smaller hands well. Also, the intonation and tone quality of entry-line horns are getting better all the time.

How have you seen saxophone pedagogy evolve at the middle and high school levels?
    There seems to be a divide in this regard. Hungry, driven students are advancing quickly because there is an amazing array of resources available, both in print and online. In addition, these students are attending clinics and masterclasses and taking private lessons at an earlier age than students did in my generation. That said, those students who are indifferent and lacking drive are falling increasingly behind the passionate ones. Students receiving better instruction are driving the pedagogy themselves, because as they become better at an earlier age, teachers must keep up. Our jobs are to foster a faster and more developed pace for our passionate pupils than what we experienced at a similar age.

What are some of the key philosophies that govern your approach to teaching saxophone?
    I want my students to be great technically, but saxophonists are able to advance quickly in this regard. Many musicians who play other instruments are skeptical of the saxophone, in part because it is a latecomer to the field of classical music, and because it is easier to learn than some other instruments. What happens is that young saxophonists often can play the instrument technically better than they are able to grow as thinking musicians and artists. This can be true in both classical and jazz music. It is my job to teach the command of tone and intonation along with deep musical concepts that every instrumentalist should apply. No one cares how fast a player can move his fingers; it is sound and musical choices that comprise a musician’s defining characteristics as an artist.

Do you think any of these philosophies are unique to you when compared to the broader scope of modern pedagogy?
    The best players I know would agree with these assessments. Those of us who enforce detailed attention to fundamentals strive every day to raise the standards of saxophone playing to bring our level of playing in line with more established instruments.

Has there been any evolution in your pedagogy over the course of your teaching career?
    I try not to be static as a teacher. Early on, I was quite stringent on making students conform to exactly how I wanted them to do play, think, interpret; but, now, I work to bring in multiple viewpoints. I enjoy bringing different opinions and the latest trends into students’ lessons but try not to confuse them with too many concepts from a wide array of sources. Although I maintain a common thread about what has always worked for me, I want students to understand there is more than one way to do things. The larger the framework they operate within, and the more knowledge of the field as a whole, the better.

How has having degrees in both music education and conducting influenced your saxophone pedagogy?
    My training in those areas has made me a better performer and teacher. Score study and analysis only improves interpretation, and knowing intimate details of the idiomatic tendencies of other instruments through my music education methods courses has helped me better understand the parameters we must operate within as saxophonists when performing in large ensembles or chamber music.

What are some of the crucial components you look for in a prospective college-ready saxophone student?
    I want to know that a college-bound student understands the demands ahead. Practicing and lessons are not extracurricular activities any longer; they are the gateway to a livelihood in music and the arts in general. These activities comprise a grade at the college level, and the relationship with one’s major professor has the greatest effect on a possible professional career. So, beyond all the repertoire and fundamentals on display, a student on audition day should show maturity, poise, and manners. Further, they must be willing to work and flourish in a competitive, but hopefully supportive, environment that a saxophone studio provides. I often will meet with prospective students prior to audition season to find out if they are open to feedback and constructive criticism. Beyond this, a college-ready student should be aware that the field of saxophone is accelerating exponentially. It is an exciting time for the instrument in all genres, and more students than ever before are interested in taking part in this profession.

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