Introducing Jazz Concepts to Young Players
Citation: Criswell, Chad. "Introducing jazz concepts to young players." Teaching Music, Apr. 2011:58+. General OneFile. Web. 24 Apr. 2013.
Article Title: Introducing Jazz concepts to young players
Author: Chad Criswell
Instrument: General Woodwinds
Magazine or Journal Title: Teaching Music
Summary:
I. Embrace Jazz Early
1. Students find difficulty in understanding jazz style
2. Any child can learn
3. Fundamentals: articulation, rhythm concepts, instrumental techniques
II. Clark Terry's approach to Improvisation
1. Imitate, Assimilate, and Innovate
2. Listening to good jazz performers
3. Using their techniques to create sound of their own!
III. Jazz syllables instead of concert band
1. Doo and da/va for swing eighths
2. Dit for marcato accents
IV. Recognize and Replicate
1. Use the things they hear from the recordings
2. Both playing and transcribing them on paper
3. Seeing and hearing to understand more completely
4. Once ground work is set, they can innovate what they've learned
Article Title: Introducing Jazz concepts to young players
Author: Chad Criswell
Instrument: General Woodwinds
Magazine or Journal Title: Teaching Music
Summary:
I. Embrace Jazz Early
1. Students find difficulty in understanding jazz style
2. Any child can learn
3. Fundamentals: articulation, rhythm concepts, instrumental techniques
II. Clark Terry's approach to Improvisation
1. Imitate, Assimilate, and Innovate
2. Listening to good jazz performers
3. Using their techniques to create sound of their own!
III. Jazz syllables instead of concert band
1. Doo and da/va for swing eighths
2. Dit for marcato accents
IV. Recognize and Replicate
1. Use the things they hear from the recordings
2. Both playing and transcribing them on paper
3. Seeing and hearing to understand more completely
4. Once ground work is set, they can innovate what they've learned
Tuning the Woodwind Section
Citation: Criswell, Chad. "Tuning the woodwind section." Teaching Music, Oct. 2008: 56+. General OneFile. Web. 24 Apr. 2013.
Article Title: Tuning the Woodwind Section
Author: Chad Criswell
Instrument: General Woodwinds
Magazine or Journal Title: Teaching Music
Summary:
I. Teaching woodwinds in an orchestra to tune: Before hand
1. Must be warmed up sufficiently
2. Using proper embouchure, air support, posture
3. Instruments in good condition
II. First: teaching students how to hear intervals and their quality
1. Begin with pairs of instruments trying to play in tune to one another
2. Learning what it sounds like to be in tune and out of tune with the other
3. Play etudes/scales while out of tune to be able to recognize the sound
4. Patience, any student will learn this
III. Expanding exercise
1. Playing within a larger section, then with whole ensemble
2. Beginning with similar instruments, to unlike instruments
3. Start with unisons, fourths, fifths, and octaves
4. Branch out to include all intervals over time
5. Will take time, but will improve the ensemble sound greatly
Article Title: Tuning the Woodwind Section
Author: Chad Criswell
Instrument: General Woodwinds
Magazine or Journal Title: Teaching Music
Summary:
I. Teaching woodwinds in an orchestra to tune: Before hand
1. Must be warmed up sufficiently
2. Using proper embouchure, air support, posture
3. Instruments in good condition
II. First: teaching students how to hear intervals and their quality
1. Begin with pairs of instruments trying to play in tune to one another
2. Learning what it sounds like to be in tune and out of tune with the other
3. Play etudes/scales while out of tune to be able to recognize the sound
4. Patience, any student will learn this
III. Expanding exercise
1. Playing within a larger section, then with whole ensemble
2. Beginning with similar instruments, to unlike instruments
3. Start with unisons, fourths, fifths, and octaves
4. Branch out to include all intervals over time
5. Will take time, but will improve the ensemble sound greatly
Revisiting Teaching Strategies for Woodwinds
Citation: Koster, Keith. "Revisiting teaching strategies for woodwinds." Music Educators Journal Mar. 2010: 44+. General OneFile. Web. 24 Apr. 2013..
Article Title: Revisiting teaching strategies for woodwinds
Author: Keith Koster
Instrument: General Woodwinds
Magazine or Journal Title: Music Educators Journal
Summary:
I. Preparing to teach
1. Treating students who play instruments you have limited experience on differently
2. Students need to become proficient at the core aspects of their specific instrument
3. Classroom-tested strategies that will help them provide higher quality learning for all students
II. Teacher as provider
1. Teachers usually use direct and indirect teaching
2. Correcting problems as they arise
3. Teach students to be prepared to solve instrument specific problems on their own
4. Experiment with how they will learn tone production, etc.
5. VBT (very best tone) inclueds airflow, embouchure, tuning, reeds/mouthpiece, and fingerings
III. Teaching Tone
1. Keeping relaxed and open throat is hard to grasp
2. Yawn or fogging up a window (teachable moments if child is yawning in class)
3. Help them describe the breathing associated with it
4. Make it a class project!
IV. Breathing
1. Working on deep breathing, examples and tips
2. Experimenting with how well different breathing works
3. Using correct breathing while sitting, challenge
4. Can use breathing devices to help experiment, how different things effect breathing
V. Embouchure
1. Good to talk about muscles involved in embouchure
2. Important to play instrument daily
3. Connect embouchure to tone production, explain
4. Experiment with good and bad embouchure
VI. Sound
1. Talk about how the tone will be different for all instruments
2. Work on listening techniques
3. Homogeneous and Heterogeneous groups
4. Student should practice transferring their listening skills from practice to the classroom
VII. Intonation
1. Experimenting with in a out of tune playing
2. Talk about how reeds factor into good intonation
3. Use listening experiences to hear good intonation
VIII. Resources
1. Publications good for all questions
2. Helpful when picking out instruments, reeds, suppliers
IX. Fingerings
1. Regular, Alternate, Trill, and Harmonic
2. Different for every instrument
3. Important for students to know
4. Important in instrument choice as well
Article Title: Revisiting teaching strategies for woodwinds
Author: Keith Koster
Instrument: General Woodwinds
Magazine or Journal Title: Music Educators Journal
Summary:
I. Preparing to teach
1. Treating students who play instruments you have limited experience on differently
2. Students need to become proficient at the core aspects of their specific instrument
3. Classroom-tested strategies that will help them provide higher quality learning for all students
II. Teacher as provider
1. Teachers usually use direct and indirect teaching
2. Correcting problems as they arise
3. Teach students to be prepared to solve instrument specific problems on their own
4. Experiment with how they will learn tone production, etc.
5. VBT (very best tone) inclueds airflow, embouchure, tuning, reeds/mouthpiece, and fingerings
III. Teaching Tone
1. Keeping relaxed and open throat is hard to grasp
2. Yawn or fogging up a window (teachable moments if child is yawning in class)
3. Help them describe the breathing associated with it
4. Make it a class project!
IV. Breathing
1. Working on deep breathing, examples and tips
2. Experimenting with how well different breathing works
3. Using correct breathing while sitting, challenge
4. Can use breathing devices to help experiment, how different things effect breathing
V. Embouchure
1. Good to talk about muscles involved in embouchure
2. Important to play instrument daily
3. Connect embouchure to tone production, explain
4. Experiment with good and bad embouchure
VI. Sound
1. Talk about how the tone will be different for all instruments
2. Work on listening techniques
3. Homogeneous and Heterogeneous groups
4. Student should practice transferring their listening skills from practice to the classroom
VII. Intonation
1. Experimenting with in a out of tune playing
2. Talk about how reeds factor into good intonation
3. Use listening experiences to hear good intonation
VIII. Resources
1. Publications good for all questions
2. Helpful when picking out instruments, reeds, suppliers
IX. Fingerings
1. Regular, Alternate, Trill, and Harmonic
2. Different for every instrument
3. Important for students to know
4. Important in instrument choice as well
Woodwind Vibrato in The Band Class
Citation: Ely, Mark C. “Woodwind Vibrato in the Band Class.” Music Educators Journal, March 1993, Vol. 79, p29-33, 5p
Article Title: Woodwind Vibrato in the Band Class
Author: Mark C. Ely
Instrument: General Woodwinds
Magazine or Journal Title: Music Educators Journal
Summary:
I. Recognizing good vibrato important: What is good vibrato?
1. Many different answers
2. Regular fluctuation in the basic tones of and instruments pitch, enhancing tone quality
II. Four Types of vibrato
1. Diaphragmatic/abdominal, jaw, throat, and lip
2. Most common are the diaphragmatic and jaw
3. Experimenting at slower speeds to develop muscles
4. Becomes natural after practice
III. Diaphragmatic vibrato
1. Variation in wind pressure, causes variation in loudness and pitch
2. Used by flute and oboe players mostly, sometimes bassoon
IV. Jaw vibrato
1. Movement in jaw changes lip pressure against reed, causing pulsation
2. Variation in timbre and intensity
3. Common on bassoon and saxophone, sometimes clarinet
4. Sometimes in combination with lip vibrato, can be mistaken for lip
V. Jaw and Lip
1. Saxophone and Clarinet often use combination of both
2. Very quick vibrato
VI. Throat vibrato
1. Unpleasant sound
2. Not well suited for any woodwind instrument
3. Difficult to control, tiring, inhibits breathing
VII. Good vibrato characteristics
1. Flexibility in tone, little pulsation
2. Audible tonal center
3. Even rate of pulsation
4. Should be able to control at all times
5. Consistent pitch, timbre, and loudness of variation
VIII. Grasping the concept
1. 5th and 6th grade levels can easily grasp, physically within their abilities
2. Take time to develop
3. Ideal to introduce in junior high school, fundamentals set
4. Will take time to explain all processes, take up entire class
5. Difficult to teach to a class of mixed instruments
6. Students abilities to learn vibrato will vary greatly
7. Practicing in daily routine will be beneficial
IX. Teaching vibrato
1. Step by step to teach Diaphragmatic vibrato
2. Step by step to teach Jaw vibrato
Article Title: Woodwind Vibrato in the Band Class
Author: Mark C. Ely
Instrument: General Woodwinds
Magazine or Journal Title: Music Educators Journal
Summary:
I. Recognizing good vibrato important: What is good vibrato?
1. Many different answers
2. Regular fluctuation in the basic tones of and instruments pitch, enhancing tone quality
II. Four Types of vibrato
1. Diaphragmatic/abdominal, jaw, throat, and lip
2. Most common are the diaphragmatic and jaw
3. Experimenting at slower speeds to develop muscles
4. Becomes natural after practice
III. Diaphragmatic vibrato
1. Variation in wind pressure, causes variation in loudness and pitch
2. Used by flute and oboe players mostly, sometimes bassoon
IV. Jaw vibrato
1. Movement in jaw changes lip pressure against reed, causing pulsation
2. Variation in timbre and intensity
3. Common on bassoon and saxophone, sometimes clarinet
4. Sometimes in combination with lip vibrato, can be mistaken for lip
V. Jaw and Lip
1. Saxophone and Clarinet often use combination of both
2. Very quick vibrato
VI. Throat vibrato
1. Unpleasant sound
2. Not well suited for any woodwind instrument
3. Difficult to control, tiring, inhibits breathing
VII. Good vibrato characteristics
1. Flexibility in tone, little pulsation
2. Audible tonal center
3. Even rate of pulsation
4. Should be able to control at all times
5. Consistent pitch, timbre, and loudness of variation
VIII. Grasping the concept
1. 5th and 6th grade levels can easily grasp, physically within their abilities
2. Take time to develop
3. Ideal to introduce in junior high school, fundamentals set
4. Will take time to explain all processes, take up entire class
5. Difficult to teach to a class of mixed instruments
6. Students abilities to learn vibrato will vary greatly
7. Practicing in daily routine will be beneficial
IX. Teaching vibrato
1. Step by step to teach Diaphragmatic vibrato
2. Step by step to teach Jaw vibrato
Pads, Corks, and Their Problems
Citation: Criswell, Chad. “Pads, Corks, and Their Problems.” Teaching Music, Nov2012, Vol. 20 Issue 3, p48-49, 2p
Article Title: Pads, Corks, and Their Problems
Author: Chad Criswell
Instrument: General Woodwinds
Magazine or Journal Title: Teaching Music
Summary:
I. Pad issues
1. Most common problem for woodwind players
2. Some should be taken to repair shop
3. Teachers can do many fixes with basic supplies
II. Emergency Supply Kit
1. Small supply of pads in various sizes
2. Roll of plastic wrap
3. Rubber bands
4. Pen
5. School letter head
III. Fixing Cracked or missing pads
1. Place pad in key, original if possible
2. Plastic wrap and drape around key, holds pad seals against tone hole
3. Secure with rubber band
4. Write letter to parents saying it needs to be repaired.
IV. Teachers should spend time teaching
1. Haste makes waste: don't attempt repairs if uncertain
V. Fixing sticky pads
1. Make sure it is the pad and not a bend rod or key
2. Look at tone whole for any residue
3. Use dollar bill between pad and hole, gently, to pull out sticky material
4. If dollar didn't work, try cleaning with a cotton swab, can use lighter fluid
VI. Broken tenon corks
1. Can use masking tape to hold joint together until new cork is made
2. Prevent broken corks by applying cork grease at end of every rehearsal to protect it from drying out
Article Title: Pads, Corks, and Their Problems
Author: Chad Criswell
Instrument: General Woodwinds
Magazine or Journal Title: Teaching Music
Summary:
I. Pad issues
1. Most common problem for woodwind players
2. Some should be taken to repair shop
3. Teachers can do many fixes with basic supplies
II. Emergency Supply Kit
1. Small supply of pads in various sizes
2. Roll of plastic wrap
3. Rubber bands
4. Pen
5. School letter head
III. Fixing Cracked or missing pads
1. Place pad in key, original if possible
2. Plastic wrap and drape around key, holds pad seals against tone hole
3. Secure with rubber band
4. Write letter to parents saying it needs to be repaired.
IV. Teachers should spend time teaching
1. Haste makes waste: don't attempt repairs if uncertain
V. Fixing sticky pads
1. Make sure it is the pad and not a bend rod or key
2. Look at tone whole for any residue
3. Use dollar bill between pad and hole, gently, to pull out sticky material
4. If dollar didn't work, try cleaning with a cotton swab, can use lighter fluid
VI. Broken tenon corks
1. Can use masking tape to hold joint together until new cork is made
2. Prevent broken corks by applying cork grease at end of every rehearsal to protect it from drying out
The Effects of Syllabic Articulation Instruction on Woodwind Articulation Accuracy.
Citation: Sullivan, Jill. "The Effects of Syllabic Articulation Instruction on Woodwind Articulation Accuracy." Ohio Music Educators Association, 2006; 33, 1; pg. 59-70
Article Title: The Effects of Syllabic Articulation Instruction on Woodwind Articulation Accuracy
Author: Jill Sullivan
Instrument: General Woodwinds
Magazine or Journal Title: Ohio Music Educators Association
Summary:
I. Multi-syllabic articulation approach on high school woodwind players
1. Use different articulation patterns and tested on accuracy
II. Teaching articulation
1. Disagreement on tonguing between instruments and on same instrument
2. Some use syllables to facilitate tongue movement
III. Staccato
1. Tongue used to start and stop the tone (disagree)
2. Different position on different instruments to where the tongue goes
3. Tongue-release technique, like a valve
4. Most basic tonguing, all other articulation stem from this
IV. The Experiment: using single syllables or multiple syllables to teach articulation
1. Multiple syllables: using "dah" for legato, "tut" for staccato
2. Approaches were models by instructor to students
3. Transferring their skills; from scales, to etudes, to sight-reading, to larger works
V. Results
1. Multi-syllabic approach is more effective in improving woodwind articulation accuracy
2. One syllable to execute a variety of articulations was unsuccessful
3. Is more effective for all woodwinds
4. Will help directors teach articulations as well
Article Title: The Effects of Syllabic Articulation Instruction on Woodwind Articulation Accuracy
Author: Jill Sullivan
Instrument: General Woodwinds
Magazine or Journal Title: Ohio Music Educators Association
Summary:
I. Multi-syllabic articulation approach on high school woodwind players
1. Use different articulation patterns and tested on accuracy
II. Teaching articulation
1. Disagreement on tonguing between instruments and on same instrument
2. Some use syllables to facilitate tongue movement
III. Staccato
1. Tongue used to start and stop the tone (disagree)
2. Different position on different instruments to where the tongue goes
3. Tongue-release technique, like a valve
4. Most basic tonguing, all other articulation stem from this
IV. The Experiment: using single syllables or multiple syllables to teach articulation
1. Multiple syllables: using "dah" for legato, "tut" for staccato
2. Approaches were models by instructor to students
3. Transferring their skills; from scales, to etudes, to sight-reading, to larger works
V. Results
1. Multi-syllabic approach is more effective in improving woodwind articulation accuracy
2. One syllable to execute a variety of articulations was unsuccessful
3. Is more effective for all woodwinds
4. Will help directors teach articulations as well
The Effect of Grade, Experience, and Listening Condition on the Melodic Error Detection of Fifth- and Sixth-Grade Woodwind Students.
Citation: Thornton, Linda C. “The Effect of Grade, Experience, and Listening Condition on the Melodic Error Detection of Fifth- and Sixth-Grade Woodwind Students.”
Applications of Research in Music Education, Spring/Summer 2008, Vol. 26 Issue 2, p4-10, 7p.
Article Title: The Effect of Grade, Experience, and Listening Condition on the Melodic Error Detection of Fifth- and Sixth-Grade Woodwind Students
Author: Linda C. Thornton
Instrument: General Woodwinds
Magazine or Journal Title: Applications of Research in Music Education
Summary:
I. Testing students abilities to detect errors
1. Listening is important skill for young musicians to develop
2. Easier for them to detect errors when they are only listening, not playing as well
3. Experiment whether it is effected by age and experience on instrument
II. Results
1. Abilities to hear errors in increasingly complex music as they grow older
2. Ages 8-11 is crucial year for change in listening development
3. No difference in accuracy of error detection from ages, same percentage
4. Age didn't effect whether they could detect the errors more or less
5. Beneficial for students to think about listening to their own playing
6. Students with as little as 1 year experience on an instrument have ability to correct their own pitch
Applications of Research in Music Education, Spring/Summer 2008, Vol. 26 Issue 2, p4-10, 7p.
Article Title: The Effect of Grade, Experience, and Listening Condition on the Melodic Error Detection of Fifth- and Sixth-Grade Woodwind Students
Author: Linda C. Thornton
Instrument: General Woodwinds
Magazine or Journal Title: Applications of Research in Music Education
Summary:
I. Testing students abilities to detect errors
1. Listening is important skill for young musicians to develop
2. Easier for them to detect errors when they are only listening, not playing as well
3. Experiment whether it is effected by age and experience on instrument
II. Results
1. Abilities to hear errors in increasingly complex music as they grow older
2. Ages 8-11 is crucial year for change in listening development
3. No difference in accuracy of error detection from ages, same percentage
4. Age didn't effect whether they could detect the errors more or less
5. Beneficial for students to think about listening to their own playing
6. Students with as little as 1 year experience on an instrument have ability to correct their own pitch