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Gustavus Adolphus
College |
Minnesota Board of Teaching
Program Approval 2006 |
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MUS 336 - Woodwind Techniques |
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WOODWIND TECHNIQUES Syllabus MUS 336
Ds. Douglas Nimmo Fall, 2005
Table of ContentsWoodwind Techniques Outline 3 Traffic Code (Class Plan, Grading, etc.) 7 Coda 8 Statement of Reading and Understanding 9 Delineation of Standards Based Learning 11 The Ten Teaching Points 13 The Qualifications of a Wind Instructor 14 Saxophone Competency 15 Flute Competency 16 Clarinet Competency 17 Bassoon Competency 18 Oboe Competency 19 Starting Beginning Instrumentalists 20 On the Spot Quick Woodwind Repairs 22 Brass Mouthpieces, Mutes, and Instruments 22 Woodwind Mouthpieces, Reed, and Instruments 25 Instruments: Instruments to Buy 28 Beginning Method Books Survey 30 Single Reed Adjustment 33 A Wish for Leaders 36 Academic Integrity 38 Woodwind Instrument Study Schedule Update 39 MUS 336: Woodwind Techniques Music 106 MWF, 11:30-12:20/September 7-December 14, 2005
Texts:
Supplementary Material Three-ring binder (or folder) for handouts and notes Clarinet, Flute, Saxophone, Bassoon, Oboe
Grading Procedures See under Traffic Code below.
Attendance Attendance at each class meeting is required. Unexcused absences will affect the student’s grade.
Non-Class Activity Consistent and daily practice on each required instrument. Remember, some daily practice is much better than "cramming."
OUTCOMES
1. Demonstrate evolving performance ability on clarinet, flute, saxophone, (bassoon, and oboe) to at least a grade two level. (assessment via competency playing tests)
2. Demonstrate a working and evolving knowledge of instrumental pedagogical skills. These skills will include topics of pitch, balance, blend, attack/release, rhythm and rhythmic energy, pulse, harmony and dissonance, balance, blend, shaping of single notes and phrases, tempo. Also to include "physical" issues: embouchure, breathing, posture, and hand position. (assessment via competency playing tests and written assignment involving lesson planning/curricular design.)
3. Demonstrate useful and effective interpersonal skills of group and individual lesson (studio teaching) management. Such skills will include lesson pacing, appropriate assignments, musical inclusively/awareness, respect for students, keeping music goals as the priority
4. Demonstrate an evolving knowledge of texts, technique methods and other resources for teaching woodwind instruments. (assessment via written tests—essay and “fingering”)
OBJECTIVES
First Order: First Order Objectives hold a high degree of value, but are not assessed in traditional form.
Following completion of this course, the student will:
1. Understand the high degree of responsibility in terms of quality pedagogical technique required of a woodwind instructor
2. Grow toward an enthusiasm for self-development as an instructor of all woodwind instruments
3. Gain confidence in studio and class instruction of woodwind instruments
4. Feel prepared to engage in collegial dialogue regarding woodwind instruments
5. Develop a commitment regarding encouragement of promising students toward quality music education
6. Develop an awareness of the significant role of woodwind instruments in history--past and present
7. Realize that patience and commitment to young people is essential to good teaching
8. Develop high expectations of him/herself and his/her future students
9. Develop an attitude of support and enthusiasm for the growth and nurturing of his/her students as musicians and individuals of committed character and high integrity
Second Order
Second Order: First Order Objectives hold a high degree of value, and are assessed in traditional form.
Following completion of this course, the student will:
1. Demonstrate performance ability on clarinet, flute, saxophone, and oboe at a grade two level (assessment via competency playing tests)
2. List, explain, and demonstrate various articulation techniques and problems of flute, clarinet, oboe, bassoon, and saxophone (assessment via competency playing tests and written test)
3. Describe, discuss, and demonstrate proper and improper tone quality for the five studied woodwind instruments (assessment via competency playing tests and written test)
4. Discuss the acoustical and intonation properties of the five woodwinds, listing methodology for normal tuning, and improving "problem" areas. (assessment via written test)
5. List and explain the "Ten Teaching Points" of H.E. Nutt (assessment via written test)
6. List the qualifications a fine instructor of woodwind instruments must possess (assessment via written test)
7. List qualities desirable (mental and physical) a fine student of woodwind instruments must possess (assessment written test/class discussion)
8. Identify and discuss various woodwind reference and method books available (assessment via written test)
9. Identify several of the finest performers of woodwind instruments and their representative recordings (class discussion only)
10. Demonstrate ability to lead a beginning student through his/her first lesson on a woodwind instrument (assessment via a video taped first lesson with a beginning student, and an associated written lesson planning assignment.)
11. Define common woodwind terms as listed in the texts and handouts, or which are presented in class (assessment via written test)
12. Identify the expected ranges a student should possess on the woodwind instruments at the various grade levels, and explain problem solving techniques regarding range (assessment via written test)
13. Demonstrate and describe proper and improper embouchure for the five woodwind instruments (assessment via playing tests and written tests)
14. List the parts (and function thereof) for the five ww instruments (assessment via written test)
15. Discuss the proper care and maintenance of ww instruments (assessment via written test)
16. Discuss the pros and cons of various available manufacturers' brands of ww instruments and their respective mouthpieces (assessment via written test)
17. Outline a daily practice routine for a beginning, intermediate, and advanced level ww student (choose two instruments), and list a possible program of study for each (assessment via written test)
18. List the desirable and alternate fingerings (full practical range) for all five ww instruments (assessment via written test)
19. Discuss the function of the various clarinets and saxophones available (assessment via written test)
20. Identify quick methods of solving performance problems in a large ensemble in terms of tone, seating and hand position, mouthpiece placement, embouchure, instrument angle, stand height, etc. (class discussion )
21. Discuss commonly required transpositions of the clarinets and their advantages and disadvantages (assessment via written test/class discussion)
22. Discuss the acoustical properties of clarinet and saxophone mouthpieces and flute head joints; also bassoon bocals (class discussion)
23. List and draw the physical qualities one ought to consider when purchasing a reed (assessment via written test)
24. Explain and demonstrate proper breathing technique (single most important issue) (assessment via written test and playing test)
25. Identify useful psychological concepts the successful ww teacher may employ (class discussion)
26. Describe various issues of consideration when purchasing the various studied instruments. (assessment via written test)
27. Demonstrate knowledge of instrumental materials and solo and ensemble repertoire, representing diverse periods and cultures, and beginning, intermediate and advanced levels from kindergarten to grade 12. (Resources Project—paper)
28, Instrumental majors will teach a video-taped 20-30 minute “first lesson” on an assigned woodwind instrument to a person from outside of the class who is not a woodwind player. Ideally, this person will have no previous instrumental experience.
In addition, if a student’s major instrument falls within a given techniques class for which she/he is enrolled, the student will be expected to serve as instructor (as assigned) for that instrument in both small and large group settings within the class.
Moreover, music education students are encouraged to become involved in the teaching of beginning lessons outside of the classroom environment.
We also expect that students will receive opportunities to offer beginning instruction to young students via the student teaching experience.
29. Students will demonstrate familiarity with the construction, operation, and simple repair of woodwind instruments. (demonstration of parts, nomenclature, and trouble shooting during performance competency tests).
Some Introductory Remarks
This is not an exploratory class, but rather a preparation for professional endeavor in the high calling of teaching children how to properly play a musical instrument. It will require more from you than you will ever receive in terms of course credit. The calling, as I said, is high, but the reward/benefit/satisfaction will be more than you could ever have dreamed.
The general format will be as follows: M/W--Lab/performance, F--discussion, HOs, written tests.
Please understand that there may be times when you feel like you have to work very hard for little course credit. That is the nature of this type of course. As future teachers, you must take responsibility for your own learning—and there is much to learn! I want to see you “step from that side of the podium to this side of the podium.”
So, I will ask you to give great effort; and I am hoping that all of us will grow from this experience in many ways that may be indescribable, but highly valuable. Minnesota State Standards (Fall, 2005) Woodwind Techniques
All music teachers must have the ability to:
A teacher of instrumental music must :
Traffic Code:: (general, and subject to change)
Week Study 1 – 4(5) Clarinet: orientation, general concepts, fundamentals of performance, problem solving, general problems/specific problems, and equipment considerations (5) 6 - 9 Flute/Saxophone " 10 - 14 Oboe/Bassoon (15) Repair Discussions/competency
Attendance: Attendance at each class meeting is required--three unexcused absences will result in the student's letter grade being lowered one full mark.
Grading Procedures Please read this carefully. If you do not understand the grading procedure, I invite you at any time to visit with me about this. Your understanding of this is important to me.
1. Attendance and attitude 15% of professionalism 2. Class participation and preparation 25% (subjective nature) 3. Competency Checks 30% (pass/fail—checks are not “letter-graded”) 4. Written Tests 30% (point-based—objective nature) (fingerings, content exams)
Grading (assessment) is, at best, a challenging task. With regard to music study, the process of assessment includes both objectivity and a considerable amount of subjectivity. Nevertheless, both are valid means of assessment. Your efforts will be assessed with regard to your overt preparation for class activities and participation in those activities, as well as more objective test results.
In the larger sense, consideration will include, but may not be limited to the following subjective questions:
1. Is she prepared to perform today? IOW, has she practiced the assigned material? 2. Has he read the text regarding today’s material? 3. Is this an improvement from the last time she performed? 4. Is there a growing sense of confidence & understanding of the instrument? 5. I will also take into consideration attendance/lateness and professional attitude. Due to the fact that the class is taught as part of one’s preparation to become a professional in the field of education, I expect that all class members will approach their respective individual class preparation with an attitude of appropriate professionalism. That is, a professional educator will demonstrate timeliness and an enthusiasm for learning.
Although the written tests and competency checks will carry great grading “weight,” your class preparation and participation are critical. I expect that you will read, rehearse, and share in class your thinking on all your preparation. Again, you must take responsibility for your own learning. Clearly, a portion of my evaluation of your contribution in this manner is subjective. Nevertheless, the class is intended to be largely lab-focused, particularly as the weeks pass. Although objective factual knowledge is an important part of the class, the intent is to promote as much “hands on” learning as possible.
One of the best “avenues of study” for you to follow is that you take responsibility for your own education in this course by diligently studying outside of class every day via thinking, reading, and practicing outside of class time. To get the most out of the course, each student must accomplish serious outside preparation. Remember: A minimum passing grade of C- is required for all music majors and minors. coda There is much more. Be patient. Be willing to examine yourself with clearly focused feedback, but in an edifying manner. Teaching is a “people” business--intensely personal, and full of GROWING ACHES. So allow yourself the freedom of becoming vulnerable--to each other, and to yourself. In that process mode, I believe you will find the greatest personal freedom for unlimited growth.
In all of this, I support you. Please allow me to be your teacher by asking questions--ANY QUESTIONS--every day. Remember, I am part of the class. My role may be different than yours, but we are in this wonderful time of history TOGETHER. Statement of Reading and UnderstandingIt is very important to me that you read and understand my expectations of you as a student in Woodwinds Techniques Class—MUSIC 336 (Course Syllabus/Traffic Code), including the grading/assessment policy. Each student is responsible for his or her own education. Reading and understanding the class documents is a cornerstone of such responsibility.
However, if there is ever a time in the future when you feel unsure or confused about an assignment, a grade, a manner of assessment, or any other issue regarding the class, I welcome you and encourage you to stop by my office to arrange for a time to visit about your concerns. It is important to me that you feel comfortable to speak to me about such concerns.
Looking forward to a great semester of learning, Dr. Douglas Nimmo Delineation of Standards-Based Learning MUSIC 336--Woodwind Techniques Assessments may include course-embedded (unit and final exams, individual and group projects, discussions and presentations, mock rehearsals, competency checks, papers, etc.)
The teacher understands the central concepts, tools of inquiry, and structures of the discipline(s) he or she teaches (see A below) and can create learning experiences that make these aspects of the subject matter meaningful for students (see B below).
A. Music teachers know how to listen to, read, notate, perform, analyze, compose, improvise, conduct, and evaluate music.
No. Course Placements Assessment 1. All Music Teachers: 1b demonstrate a basic knowledge of vocal development and production and a basic knowledge of instrumental techniques and acoustics. Tests in fingerings, instrument proficiency; aural diagnostic exercises 2b interpret scores designed for instrumental ensembles and understand bowing, fingering, or articulation specific to string and wind instruments. Written exams assessing general and specific knowledge, e.g., fingerings, articulation, etc; performance exams 2d have knowledge of instrumental materials and solo and ensemble repertoire, representing diverse periods and cultures, and beginning, intermediate, and advanced levels from kindergarten to grade 12. Resources project, classroom feedback employing “Black 2e demonstrate knowledge and skills or performance pedagogy for percussion, string, and wind instruments. Written and performance competency tests 2h be familiar with the construction, operation, and repair of percussion, string, and wind instruments. minor repairs test—dcemonstrate problem solving, participation at local music store repair clinics*
2. Music teachers with instrumental specialization demonstrate competence in teaching students to: 2a perform a varied repertoire of solo and ensemble music on an orchestral and band instrument video taped solo lesson, repertoire project 2b improvise melodies and variations on their chosen instrument. video taped solo lesson 2c read music and play from parts or pieces written for their chosen instrument video taped solo lesson
THE TEN TEACHING POINTS
Coherence and employment of the ten teaching points in the student's daily playing habits is the ultimate aim of the teaching process. We can use the following points to check our progress as teachers in the pedagogical process.
1. Breathing is dependent upon a proper understanding of inhaling and exhaling. This point is the single most important concept of teaching or playing a wind instrument.
2. Tone Production is dependent upon concept, control, the instrument, and the mouthpiece. The well taught student will use proper support and embouchure to issue a full and resonant sound in all playing ranges.
3. Attack and Release deals with the fact that each tone has three parts . . . beginning, middle, and end. The student with practiced articulation will be able to attack the note in the manner indicated in the music, sustain with proper tone, and release in the manner required.
4. Counting Time is simply knowing when to play, and when not to play, the notes. Teachers can determine best the student's progress by testing the results in the various stages of time counting.
5. Holding Still is a fundamental point in wind playing to ensure accuracy of pitch. The student should remember "hold still, or the tone will spill."
6. Expression is a feeling for music and an understanding of stylistic practices. The student musician (includes all advancing players) must be familiar with stylistic practices and be able to "make the music say something."
7. Register is where the notes lie, whether low, middle, or high. The student must have a good attitude toward extreme ranges, perform in these ranges without tiring, and practice the complete range of his instrument every day.
8. Technical Efficiency is mechanical ability and will lead toward the eventual development of expression and interpretation.
9. Interpretation is the conception of the musical line as seen by the individual. Interpretation also involves elements of stylistic consideration.
10. Aesthetic Growth is the be-all and end-all of quality music education. The first nine points are essential and valuable, but are only a quality means to the end.
THE QUALIFICATIONS OF A WIND INSTRUCTOR
The teacher should be well schooled so that his own ideas are very definite as to what the ultimate in wind playing should be. With this end in view, he must put all his teaching devices to this test: ARE THEY REALLY PUTTING THE STUDENT NEARER HIS OBJECTIVES? If the teacher has a clear mental image of good wind instrumental performance, he may estimate the worth of his endeavors in the following manner:
1. By his ability to impart to the student ideas, which collectively will result in a mental image of musicianly performance on his instrument 2. By the effectiveness of the means which he chooses to develop in the pupil a mechanical command of his instrument 3. By the aesthetic techniques he employs to promote imagination, wonderment, and desire for enhanced perception/reaction to art.
At first, these ideas must necessarily be fundamental in nature and of seemingly unrelated situations in counting time, expression and routine, but if they are presented well, they soon lose their incoherence and the pupil begins to perceive that most situations that seem new are merely new combinations of old tricks. IOW, learning is not always being presented with new material, but remembering and synthesizing (in application) what one already knows. This defines the ability to analyze situations and helps the student to recognize the relationship between familiar and unfamiliar musical encounters. In order to put these ideas into execution, the pupil's mechanical command of his instrument must have developed equally with his ideas. This development is dependent upon the teacher's means of teaching fundamentals, which are mainly explanations, demonstrations, choice of materials, and the language employed in same. Accordingly, if a teacher is to score high in the qualification state above, he must have an inexhaustible store of patience and persistence, he must constantly study to advance himself and his own musical ideas (as a player and a conductor), and he must have an intimacy with the technical and mechanical points of performance on his instrument together with a growing knowledge of methods to help others overcome them. IOW, we need teachers who can "say it a thousand different ways." --Victor Zajec
SAXOPHONE COMPETENCY
Specific 1. Chromatic scale: Low C to high F from memory (asc. & desc. in quarter notes) 2. Scales in qtr notes: C, F, G, Bb, D from memory (two octaves where possible) 3. Exercises: a. Lesson 7-1—Chiapanecas b. Lesson 9-3—Blue Moon c. Lesson 14-2—Slip, Slide, and Slur d. Lesson 14-6—Instrument Workout e. Lesson 16-1—Instrument Etude f. Lesson 18-3—Siranda (top part) g. p. 26—Danny Boy 4. Imitation
General Knowledge 1. Fingerings 2. Mouthpieces 3. Instruments - brand names, et al. 4. Reed adjustment 5. Trouble shooting - reeds and horns 6. Basic repair and nomenclature 7. Care and maintenance 8. Fundamental teaching processes (hand position, correct embouchure, alternate fingerings, tonguing, et al. 9. See Guide to Teaching Woodwinds and Band Director's Library
HO #5 FLUTE COMPETENCY
Specific 1. Chromatic scale: Low E to high F from memory (asc. & desc. in quarter notes) 2. Scales in qtr notes: C, F, G, Bb, D from memory (two octaves where possible) 3. Exercises: a. Lesson 7-1—Chiapanecas b. Lesson 9-3—Blue Moon c. Lesson 14-2—Slip, Slide, and Slur d. Lesson 14-6—Instrument Workout e. Lesson 16-1—Instrument Etude f. Lesson 18-3—Siranda (top part) g. p. 26—Danny Boy 4. Imitation
General Knowledge 1. Fingerings 2. Mouthpieces 3. Instruments - brand names, et al. 4. Reed adjustment 5. Trouble shooting - reeds and horns 6. Basic repair and nomenclature 7. Care and maintenance 8. Fundamental teaching processes (hand position, correct embouchure, alternate fingerings, tonguing, et al. 9. See Guide to Teaching Woodwinds and Band Director's Library
HO #6 CLARINET COMPETENCY
Specific 1. Chromatic scale: Low E to high E from memory (asc. & desc. in quarter notes) 2. Scales in qtr notes: C, F, G, Bb, D from memory (two octaves where possible) 3. Exercises: a. Lesson 7-1—Chiapanecas b. Lesson 9-3—Blue Moon c. Lesson 14-2—Slip, Slide, and Slur d. Lesson 14-6—Instrument Workout e. Lesson 16-1—Instrument Etude f. Lesson 18-3—Siranda (top part) g. p. 26—Danny Boy 4. Imitation
General Knowledge 1. Fingerings 2. Mouthpieces 3. Instruments - brand names, et al. 4. Reed adjustment 5. Trouble shooting - reeds and horns 6. Basic repair and nomenclature 7. Care and maintenance 8. Fundamental teaching processes (hand position, correct embouchure, alternate fingerings, tonguing, et al. 9. See Guide to Teaching Woodwinds and Band Director's Library
HO #7 BASSOON COMPETENCY Specific 1. Chromatic scale: Low D to high F from memory (asc. & desc. in quarter notes) 2. Scales in qtr notes: C, F, G, Bb, D from memory (two octaves where possible) 3. Exercises: a. Lesson 7-1—Chiapanecas b. Lesson 9-3—Blue Moon c. Lesson 14-2—Slip, Slide, and Slur d. Lesson 14-6—Instrument Workout e. Lesson 16-1—Instrument Etude f. Lesson 18-3—Siranda (top part) g. p. 26—Danny Boy 4. Imitation
General Knowledge 1. Fingerings 2. Bocals, reeds 3. Instruments - brand names, et al. 4. Reed adjustment 5. Trouble shooting - reeds and horns 6. Basic repair and nomenclature 7. Care and maintenance 8. Fundamental teaching processes (hand position, correct embouchure, alternate fingerings, tonguing, et al. 9. See Guide to Teaching Woodwinds and Band Director's Library
HO #8 OBOE COMPETENCY Specific 1. Chromatic scale: Low C to high C from memory (asc. & desc. in quarter notes) 2. Scales in qtr notes: C, F, G, Bb, D from memory (two octaves where possible) 3. Exercises: a. Lesson 7-1—Chiapanecas b. Lesson 9-3—Blue Moon c. Lesson 14-2—Slip, Slide, and Slur d. Lesson 14-6—Instrument Workout e. Lesson 16-1—Instrument Etude f. Lesson 18-3—Siranda (top part) g. p. 26—Danny Boy 4. Imitation
General Knowledge 1. Fingerings 2. Mouthpieces 3. Instruments - brand names, et al. 4. Reed adjustment 5. Trouble shooting - reeds and horns 6. Basic repair and nomenclature 7. Care and maintenance 8. Fundamental teaching processes (hand position, correct embouchure, alternate fingerings, tonguing, et al. 9. See Guide to Teaching Woodwinds and Band Director's Library |