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Plan B Papers Student Theses & Publications

8-1-1957

A Study of Some Aspects in the Teaching of Woodwind A Study of Some Aspects in the Teaching of Woodwind

Instruments Instruments

James Ray Brooks

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A STUDY OF SOME ASPECTS IN THE

TEACHING OF WOODWIND INSTRUI.JENTS

A Thesis

Presented to

the Faculty of the School of Education

The Eastern Illinois University

In Partial Fulfillment

of the Requirements for the Degree

Master of Science in Education

by

James Ray Brooks

August 1957

TABLE OF CONTENTS

CHAPTER PAGE

I. SIMILARITIES .AND cm.JTRASTS OF 1I'J:IE 'v'JOODWTHD

II.

INSTRUMENTS • • • • • • • • • • • • • • • • •

Single reeds • • • • • • • • • • • • • • •

Double reeds • • • • • • • • • • • • •

Chart of woodwind instruments • • • • •

SIMILii.RITIES IN Fil~GERIHG • • • • • • • •

• •

• •

• •

2

3

3

7

8

Diaeram no. l • • • • • • • • • • • • • • • 9

Diagram no. 2 • • • • • • • • • • • • • • • 11

Diagram no. 3 • • • • • • • • • • • • • • • 13

III. BASIC ALTERNATE FINGERINGS FOR 'fHE WOODWIND

INSTRUMENTS • • • • • • • • • • • • • • • • •

Excerpts from "Prelude and Tarantella"

by: Sol B. Cohen • • • • • • • • • • • • •

Excerpts from''Nocturne"by: L. Bassi

Excerpts from "Ballade" by: Gade ••

Excerpts from "Scene and .A.ir" by:

• •

• •

• •

• •

Michael Bergson ••••••• • • • • • • •

Excerpts from "Sonata" by: Felix Mendelssohn-

Bartholdy • • • • • • • • • • • • • • • • •

Excerpts from "Premiere Rhapsodie"

by: Claude Debussy ••••••••••••

Excerpt from "Concerto I" by L. Spohr • • •

14

15

16

16

16

17

17

17

CHAPTER PAGE

Excerpt from "Sonate.'No. I rt

by: Johannes Brahms • • • • • • • • • • • 18

Excerpts from "Sonata" by Felix Mendelssohn-

Bartholdy • • • • • • • • • • • • • • • • 18

The Clarinet • • • • • • • • • • . • • • 25

The Flute • • • • • • • • • • • • • • • • 29

The Oboe • • • • • • • • • • • • • • 32

The Saxophone • • • • • • • • • • • • • • 35

The Bassoon • • • • • • • • • • • • • • • 38

INTRODUCTION

This study is based upon three main aspects in the

teaching of woodwind instruments. The three main topics

are as follows: (1) Similarities and Contrasts in Wood­

wind Instruments, (2) Similarities in Fingerings, and (3)

Basic Alternate Fingerings for the Woodwind Instruments.

The following material has its greatest value if

one is going to obtain a complete and meaningful under­

standing of the woodwind instruments. Also, music teacher•s

who are working wit~ heterogeneous groups of woodwind

instrumen~s will find this basic knowledge beneficial

to their teaching.

1

CHAPTER I

SIMIIARITIES AND CONTRASTS

OF THE VIOODV~IND INS'I'RUMENTS

In the woodwind f'amily of musical instruments, one

f'inds many points of similarity. Yet in certain instru-

ments there are striking differences as to seemingly con­

tradict tne physical laws governing tn.e production of mus­

ical tones. For example, the low Bb of the bassoon is

theoretically impossible to produce on a tube only eight

feet in length.l

Earlier in the history of the woodwind instruments

they were made of wood, hence the family name. However

today the woodwind family includes metal saxophones and

flutes, metal versions of the clarinet (primarily used for

the sake of durability, in marching b&nds), and rare instru­

ments such as the sarrusophone (a second cousin of the b~s-

soon and saxophone).

All wind instruments operate on the principle of

the vibration of an air column within an open or closed

tube, and depend on various mechanisms for lengthening or

shortening the tube for changes in pitch. Unlike the brass

l Gene E. Haney, Similarities and Contrasts in Wood­wind Instruments (Eastern Illinois State College, March 5, rn), P· 1.

3

family (where tone is generated by vibration of the player's

lips), woodwinds depend on the vibrations caused by the

reeds which are attached to the mouthpiece. This holds true

for every instrument except for the flute, here the tone is

produced by splitting the air stream across the outer edge

of an open-hole mouthpiece.

The woodwinds which utilize reeds may further be di­

vided into two catagories:

(1) Single Reeds: The reed is held in place on the

mouthpiece by a metal band called the ligature. The reed

sets up vibrations by closing and opening very rapidly

against the mouthpiece. There are two instruments which use

the single reed and t,hey are the clarinet and sa.xophone.

(2) Double Reeds: In the case of the douule reeds,

the double reeds are actually the mouthpiece for their par­

ticular instrument. Actually there are two ''blades" of reed

that are held together in such a manner as to allO'l,;ii a column

of air to pass between each other, just as the reed vibrated

against the mouthpiece in the cast of the single reed instru­

ments. The following instruments use double reeds: oboe,

english horn, hecklephone, and bassoon.

The tone of the double-reed instruments is more "buzzy"

and "nasal" than that of single-reed instruments.

It has already been established that the vibratl.on of

the reed or, in the case of the flute, the splitting of the

4

air column is actually the generator for the tone. However,

there must be a resonator which will not only amplify the

tone, but will give or rather determine its pitch. There

are two main types of resonators in the woodwind family:

those which act like stopped pipes and those which act like

open pipes. Conically bored stopped pipes are included in

the classification as one which acts like an open pipe.

Open pipes and conically bored woodwinds, through action of'

the vibrating air column which passes through them, are ca-

pable of reinforcing and producing all the overtones, or

harmonics, of their fundamental pitch. Cylindrical bored

stopped pipes, however, cannot reinforce the even-numbered

harmonics, and are capable of producing only the odd-num-

bered harmonics. rrhus not only the tone quality, but also

fingering patterns for the upper registers are changed con­

sidei·ably on the two types of tubes or resonators. 2

The pitch of woodwind instruments is changed by length-

ening or shortening the tube through which the vitratlng air

column must pass. Differences in range of instruments of

the same type (let us say for example: Eb clarinet, Bb

clarinet, and Bb bass clarinet) is accounted for in the

fact that the tubing is either longer or shorter depending

2 Earl W. Boyd, Physical and Psychological Aspects of Woodwind Playing (a phamphlet produced at Charleston, Illinois, bf the Department of Music, Eastern Illinois State College).

5

upon the range. If the range is higher, the tubine will be

shorter than if it were lower in pitch. On the individual

instruments, changes in pitch are made by boring holes at

intervals along the tube. The player is then able to short-

en or lengthen the tubing as he desires. On some instruments

such as the clarinet, oboe and bassoon there are small tone

holes which therefore allows the player to close them with

his fingers. However, on some instruments such as the flute,

saxophone, and bass clarinet, the tone holes are so large

that it is necessary for them to be covered by pads.

The embouchre differs greatly between the members

of the woodwind family. The embouchre is referred to as the

lip formation of the player wnen he is playing an instrument.

All single reed instruments use, fundamentally, an embouchre

in which the lower lip is drawn slightly over the lower

teeth; chin tense: slightly; upper teeth rest on the top of

the mouthpiece. Cheeks must never puf';f; too much of a

spreading of the lips as in smiling is also not considered

good. The throat must be open; as in playing all wind in-

struments, breath support comes from the diaphragm. The ·bas-'

ic difference between the embouchre of the clarinet and the

saxophone is the fact that the mouthpiece may be placed fur-

ther into the mouth on the saxophone and the saxophone em-

bouchre need not be as tight as that of the clarinet. The

larger the instrument, the more relaxed the embouchre and

the more breath required to produce a good tone.

The double reed embouchre consists of drawing both

lips slightly over the teeth, receding and dropping the

6

lower jaw a little. There is a slight tendency to "pucker"

the lips, with a downward pull at the outer edges of the

mouth. The double reed mouthpiece is inserted into the

mouth far enough to allow the ends of the reeds to vibrate

freely. The lower jaw is receded even further and dropped

further in the case of the bassoon, and the embouchre gives

the feeling of pronouncing the word "yaw". The bassoon em­

bouchre is more relaxed than tnat of the oboe. Again, cheeks

must not puff, and the rule of diaphragm breath support ap­

plies.

The flute, having a radically different mouthpiece,

necessarily needs a different embouchre. The upper and

lower front teeth are placed even with each other. The

lips are pursed tig11tly (but not tensely), with a slight

smiling curl at the ends (some teachers recommend a slight

"sneering" feeling). Because blowing across the open hole

presents no resistance, the aperture, or hole between the

lips through which the air is emitted, must be kept as small

as possible in order to conserve breath. The feeling of blow­

ing into the flute is compared to the feeling of' "spitting a

thread off the end of your tongue". Contrary to many erron­

eous definitions, the air stream is not directed across the

7

open hole of the mouthpiece, but directed so as to strike

the opposite edge of it. Approximately one-third of the

mouthpiece hole will be covered by the lower lip.

'11he following is a chart which gives the family tree

for the woodwind instruments: 3

SINGLE REEDS

Clarinet sit-

E-Flat Clarinet B-Flat Clarinet E-Flat Alto Clarinet B-Flat Bass Clarinet

Saxophone siH~

B-Flat Soprano Saxophone E-Flat Alto Saxophone C-Melody Saxophone

WOODWINDS

DOUBLE REEDS

OboesiHt-

Oboe (Key of C) English Horn (Key of F) Hecklephone (Key of C)

BassoonsiHr

Bassoon (Key of C) Contra-Bassoon (Key of C) Sarruaophone (Key of

B-Flat Tenor Saxophone E-Flat Baritone Saxophone B-Flat Baas Saxophone

E-Flat)

OPEN HOLE MOUTHPIECES

Flutes-:;~-~

Piccolo (Keys of C and D-Flat) Flute (Keys of C or D-Flat) Alto Flute (Key of G} Bass Flute (Key of G)

* Cylindrical-bored stopped pipe. iHr Conically-bored stopped pipe, acts as open pipe. ~-::"'* Cylindrical-bored open pipe.

3 Haney, ..££. cit. , p. 7.

CHAP'I'ER II

SIMIIAHITIES IN FINGERING

There are certain basic fingering patterns that are

similar among the various instruments. Althou::;h two or

more instruments may not be exactly the same, in fingering

all of the notes in both the upper and lower register,. there

will be cases where certain notes are similar. This is what

will be explained in the following pages with the aid of dia-

grams.

An understanding of this correlation will greatly

assist in the teaching of these instruments. This would

be especially helpful in the heterogeneous groupine of • the woodwind instruments.

Half'-holes, octave, register, and thumb keys are not

considered in showing the similarities among the instruments.

V~hen the fingers are placed on the keys, rings, or

holes of the various woodwind instruments in the manner

shown in the diagram number 1, the tone of' each instrument

is either lowered one-half step or one whole step. This,

wben examined, shows a basic fingering pattern in which

SE;Veral of the instruments are alike.

The flute, clarinet, oboe and saxophone apd one

finger. This produces a written B (for each of them this

is not concert pitch).

• s -0

0 0

• • 0 -.­g

-• • 0

Cr e

• • • -.-0 0

• • • • • 0

• • -·-• • •

")

/ t""-..

'"' ~

")

/. t-... le"' )

\

J h \.1 ~

.., u

/ ....... l J

') IJ

/ ' \.. ,/

,...,. IJ .. ~

l )

0-1

~-=- ":3 ~1jl.-I I./ tH•d

P/ufe- Ol;,v c.. ....£--

I s+~p I ....,

-e- -Q-

I I 0 0

t I ..SI•~

"" -- -

I -1i' S.f ef? () r1

I ..... -- -

,. 0 ,,

Diagram No. 1.

{upper register)

-9- -e-

S/ep 0 0

_u r~ l -- - -

I .-' l"'") l"l

I s-fe.p

- ....... - ~

f3assoo n..

A •

/' ..,/

_!L

,A •

• I'

J

, -fr

....... . . , . <../

Sler-r 0

A• j•

..I

.>-fer-, "' -. -, .

i./

I

-· . ~ • I• -J

·-----

or ... / .......

\

Second finger is added----they all eo down

one whole step in tone production; now the bassoon

can join in with its written D.

Third finger is added----each instrument goes

down a whole step.

First finger of the right hand is added----

clarinet, flute and saxophone go down a whole step;

oboe and bassoon go down a· half step.

Second finger of the right hand is added---­

c larine t, flute and saxophone go down a half step;

oboe and bassoon go down one whole step.

ThiI•d finger of the right ht?.n~ is added---­

every instrument lowers one ~1ole step.

It can be seen from this diagram that at first all

of the instruments start out in the same pattern; then the

flute, clarinet, and saxophone a:J:>e' alike but the oboe and

bassoon take on a different fingering pattern. At this~

point the oboe and bassoon are similar to each other.

In diagram number 2, once again the first finger of

the left hand is placed on a key or over a hole--from

this note, although its concert pitch will differ among

10

the instruments. An analysis as to whether the additi'on of

fingers, one at a time, will lower the pitch one-half or'

one whole s·tep and also, whether or not there is ·a correla­

tion among the woodwind instruments in the lower recister,

, 0 0

g 0

• • 0 0 0 0

• • • -0 0 0

, • • -.-0 e

• • • -• • (I

• • • • • •

r\ I/

"/, f-..... \. ... ) ...

\ J

/, r...... [lC u

\ )

/ ~ { <... / -

\ !/

/ ,__

{(. )

) 7

/,. """'"' l \... _)

\ /

. /, -l "-- )

-.& -..... - ----·--·--·

... -I I sf-e.,=-

0 0 0

0

I I s-1-~p ---- --·---~

./\ - .;"\ - - --e-I I .Slef' I ,-4

T

. ~=t=-__ Q_ -==~~~-:a::-- _ff_o__ ---b-0-

I

={7-

I

~ Sfe.p--,

/'\ .......,

I --------· --

0

Diagram No. 2.

(lower resister)

~

L..'

Sl-ep

,- I

-.. -

0

Bossoo h:. ~

......... . -• ll "' -

I /'\ . -.

~

cl \../

l --; ... ~--/1,

I . "- 1'"1

S-l-Y!!.p I ---/'\ . . I . <..} ·-0---

-----·----------

Sfe.pl -

J""\ • I.

I j --{ J

I -- . . -c f

.... .........

will be made. The other diagram (No. 1) dealt with the

upper register.

The first finger of the left hand has been

added.

Second finger of the left hand is added---­

each instrument goes down one whole step.

Third finger of the left hand is added---­

each instrument goes down one whole step.

First finger of the right hand is added---­

clarinet, flute, and saxophone r,o do<vvn one whole

step; oboe and bassoon go down one-half step.

Second finger of the right hand is added---­

clarinet, flute, and saxophone go down one-half

step; oboe and bassoon go down one whole step.

Third f'inger of the right hand is added---­

each instrument goes down one whole step.

Once again the pattern of all of the instruments

started-out together, the clarinet, flute, and saxophone,

dlviding off from the oboe and bassoon.

12

llJ o I O./;J.,.il'le-1

...,.. 0 0

/ 0 fhu...,b 0

Ott ,:: hole. ~

Flu7e­• 0 0

0 0

IE"'-0

K•""/

Diagram No. 3.

0

0

" 0 0 0 CJ

\JJ Q o/,o ....

• 0 0

• 0 Cl

In diagram number 3, the only note that is fingered

differently on all of the woodwind instruments is illustrated.

,CHAPTER III

BASIC ALTERNATE FINGERINGS

FOR THE V100DWIND INSTRUI.IBNTS

The most important reason for teaching alternate

fingerings is that it facilitates the student in playing

difficult and otherwise practically impossible passages in

music literature. Some of the passages, which are quite

easy in appearance, can not be executed pPoperly, with very

much ease, without the use of alternate fingerings. For·

example:

Th.is phrase looks very simple to play. However, if it we re

not for the use of an alternate fingering it would be practi­

cally impossible to execute this passage. It would be very

difficult to slur from C to E-flat without also sounding

the D. In other words the phrase would sound like this:

tUJ f7fiR 1 The assumption may be that the above example was

constructed to purposely.show a need for alternate finger-

ings and therefore does not shmv thei.t there is any necessity

f<)r students to know alternate fingerings when playing actual

music, either in a musical group or as soloists. However,

the following music has been anlayzed as to fingering dif-

15

ficulty; paying very close attention to the need for alter-

nate fingerings. The following phrases are a few that

show the necessity for the use of alternate f'ingerine;s.

Without the use of alternate fingering on the i'ollowint;

passages, it would be ve1·y difficult if not practically im­

possible to execute them musically. The particular prob­

lems will be marked with "L" or "R" which designates which

hand will play the note. No attempt will be made at this

point to determine which alternate fingerings will or should

be employed. The main purpose is to show that there is

a need f'or alternate fingerings.

"Prelude and Tarantella" by: Sol B. Cohen

I

h I. L ~I I

d ,_,,,..,J "Nocturne" / ...... ~~ '°".-.. ~·"" L. Bassi

,..... ~ . "· " ~DC f f i1 if]' i I fl tr cJ{jjlfl ~~v~~~!i~y:

R

f:$bC .Q-.' J- i ~ I l

"Ballade"

;~ ~ I~ ~ 0- 7 ;#-0

~ I. ' I ,gt i £11 L!1

Ff

I..

+

I I •

~ I • I '

I ~ 0

"" l

;3 )

Niels W. Gade, Op. 43, Ho. 3

Michael Ber•gson Op. 82

t

"Sonata" Felix Mendelssohn­Bartholdy

+ , l R t:1 Ji( l I

"Premiere Rhapsodie" Claude Debussy

ffi I , , F1!a h # r=" b-+- -1. ,

I F¥ 1 n l

'

"Concerto I" L. Spohr, Op. 26

"Sonata No. I"

b l

"Sonata"

Joharutes Brahms, Op. 120

Felix Mendelssohn­Bartholdy

\

19

It has been stated that alternate fingerings help

the player a great deal in playing difficult and other-

wise practically impossible passages. However, what are

some of the other• principles that lie behind making a

fingering choice?

One very important factor in making a choice between

different fingerings is which fingering will enable the

player to play as evenly as possible and have good timing.

Generally speaking any fingering pattern that envolves

only one hand will be smoother than one that envolves

first with the B-flat key for the ring finger, left hand, (the one-hand fingering). This assumes, of course, that he has learned to use both fingerings for those who have never used the left-hand B-flat key fingering find it awkward at first, because this key lies so close to the middle ring. In this casE the left hand ring finger provides its own timing even from a mechanical standpoint, f~r its own motion is a steady oscillation up and down.

Cross-fingering should be avoided whenever possible.

Cross-fingering can be best described as the process of

"changing pitch by taking up certain fingers, and at the

4 Arthur H. Christmann, 11\\hat Basic Principles Lie Behind Fingering Choice?" Woodwind, October, 1952, p. 6

precise instant putting down other".5 In order to do this

one must have the most perfect timing, if a blurring or

unwanted grace notes do not appear as the result of one's

effort. True, cross-fingering can not be entirely elimi­

nated from clarinet playing, but you should avoid it as

much as possible.

20

The Boehm flute requires quite a few cross-fingerings

in its third octave and all woodwinds use it in their high­

est ranges. However, it is only natural to prefer a simple

finc;ering change, which requires merely lifting one or more

fingers or the addition of one or more fingers, to a change

requiring both of these processes to be executed simultane­

ou:sly.

The objection to cross-fingering will differ among

the varying woodwind players depending upon which instru­

ment is played by each. The flutist will not object &s

violently as the cl&rinetist; this is true because the flute

uses cross-fingering considerably more than does the clari­

netist. Then too, the bassoonist, whose thumb has to do

considerable sliding will not see too great harm in sliding.6

Whenever possible plan the fingering of a passage

so that one hand can finish its motion before the other

5 Ibid., p. 6.

6 Ibid., p. 6.

takes it up. True, this may not be one of the largest

factors in considering which fingering pattern to use,

but it may prove to be the only rule that will justify

the solution to your problem in certain cases. Certain

instruments such as drums, bells, xylophones, marimbas,

can play p~ssages with a continuous alternation of cleft

and right_-.hands. In cases such as these the alternation

itself' provides a perfectly balanced timing. "The timing

becomes less natural if' any irregular element is intro­

duced.117 In woodwind passages this alternation between

right and left hands just almost occurs.

It is therefore wise to plan whenever we can do so, to let each hand finish its motion before the other hand begins its work. To make this clearer, 1~ the clarinet descending scale:

~r-~ ~- .. .'\ l ~ ~ i t Ill i i Fl r J t: ~£es , _ 1 I

7 Ibid., p. 13.

21

(

in which case amateurs are often in doubt as to which was to finger C-sharp --- B.

22

It is readily admitted that this principle is not as basic or strong as some of the others, for few clarinet­,ists would finger the passage: l

, • & I.. -

IJ) I [ f p- { t I .' .' I ll •

• +.

as indicated, even though this fingering is in accord witn the principle. In this case the most common scale fingering habit is so strong that to change it for the sake of the principle would seem far-fetched and aca­demic, and to most players, downright awkward.

Do not use two fingers for a note which can be taken by one, unless the second finger is needed in this position for the note preceeding or following. In the clarinet group:~

1i r Fr

we allow the C key for the right hand little finger to remain in position while we play the B, again to avoid the possibility of double action. However, in the group:

I I I

j

we never use both little fingers for the B unless tne mechanism is out of order and the C does not close automatically with the B as it should. There is a very close relationship between this principle and the one pertaining to cross-fingering.

23

In very rapid passages avoid a major readjustment of fingers for a single note whenever possible. This sort of thing comes to us most frequently in the case of the pivot note at the end of a scale passage which returns upon itself, and is most annoying when the passage is a short one going over this small gamut of notes again and again, such as one often finds in an orchestral noise-making accompaniment figure. To clarify this, let us assume that in the passage:

1£ the highest D on a particular woodwind involves a major change of fingering, (which is actually the case on all of the treble woodwinds). According to this general principle, in a very rapid tempo, and especially if used in the orchestra merely as a noise making accompaniment, it would be wiser to use a simple fingering for the high D if one is available. The use of trill keys and trill fingerings need not be restricted to actual trills alone, but may be justifiably used in passages such as this. Again the final answer must be determined by considerations of speed, importance of the passage, and quality of the fingering to be substituted. It is un­deniable that the turning note in a returning scale passage is more easily heard and noticed than one in the course of the scale.

' Few will deny that it is both difficult and un- ·

graceful to wrestle with a major r>eadjustment of fingers if the motion of a single finger or key will perform the same task satisfactorily. The common sense of using trill fingerings for the trill for which they were intended is, of course, in accordance with this same principle, but is so axiomatic as to require no coimnent •••••

To amateur player ••• and to school instrumental teachers, teaching instruments which are not their , specialty, a series of general principles such as these. should provide welcome help in thinking about fingering questions on which they have encountered disagreement.

The writer has made no attempt to apply these prin­ciples to specific fingering problems on the various instruments •••• He has tried to make the meaning as clear as possible with a minimum of illustration, and

the examples he has used have been of fairly simple problems of the clarinet, this being the instrument about which he can speak with the greatest authority.

If these principles are valid at all, they are sufficiently general to be valid, at least in varying degrees, for all woodwinds, and the individual assum­ing he understands our meaning, may easily make the application to his own instrument. If he has had authoritative schooling, he will find one or another of these principles behind his present practices of fingering, and he will note that the differences be­tween various schools of thought about fingering are largely a selection of the relative importance assigned to one or another of these general principles .8

8 Ibid., p. 13, 15, 18.

24

The clarinet.

Regular F'ingering I,~

Alternate Fingering /. ~

• • • • • ,_.

In the preceding exercise one would have to use

the little f'inger of the right hand to play both the

• • ~-e • • •

E-flat and C, without the use of the alternate C fingering.

Ho~ever, when using the alternate fingering it is quite

easy to play the E-flat with the little finger of the right

hand and the C with the little finger of the left hand.

1!&• _±t ftllO I l) 1t/ $ HJ U1 ~ ::::t=:=--~

Illustrated above is another example which again points

out the need for an alternate C fingering. As was pre­

viously stated, this passage, would be considered rather

difficult to play if it were not for the use of the alter­

nate C fingering.

9 Sol B. Cohen, Prel~de and Tarantella, measure 36.

10 ~., measures 81-82.

)

2JJB.i!f)E@]~a~~31 Regular Fingering I. 2. • • • I

• • .3.

26

Alternate Fingering :ii.I. ~ .;t: ..zzr . I :2.. .

• ! I - • • •

I.~ • • • -. ..

f?.H. • Ff ,_ \ ,- -" ... Y ; o~ ·-• O•

0 0

The above illustration is an example of where one

would use the regular B fingering. There would be no finger­

ing problem in executing this passage if the regular B

fingering were used.

The preceding example illustrates the use of the

first alternate finge1·ing. When one uses this fingering

all that is required is the lifting of the left hand

little finger off of the number one key. When the player

does this the instrument sounds the D. Thus making the

interval from B to D very easy to execute even in the most

rapid passages.

This is an example of when you would use·the

11 L. Bassi, Rev. by H. Voxman, Nocturne, measure 129.

12 Johannes Brahms, Op. 120, Sonata No. I, measure 84

13 Felix Mendelssohn-Eartholdy, Sonata., measure 76.

second alternate fingering, listed i'or B. Without the

aid of this alternate fingering the above example would

be extremely difficult to play and be done smoothly.

However, by using the second alternate fingering it is

possible for the player to alternate the use of his

lettle fingers on both hands.

1£0 J!TJ I ' • •

In a passage such as the one just given, would be

an ideal situation for the use of the third alternate

fingering. The primary purpose of this alternate finger­

ing is to enable the player to go from A to B without using

any more fingers than is necessary.

3_! I. J Regular Fingering l:L . • • .!!_:z..

• • 4•

Alternate Fingering "" /. ~ ,2 .

....::&. /.::z_ • • • • 2.

• • • a

• • • • •

This is an ex~mple where the regular C-sharp finger­

ing enables the player ·co play chromatically with little

or no difficulty. However, it is when you have intervals

that the difficulty arises.

14 Claude Debussy, Premiere Rhapsodie, measure 94.

27

This is an example illustrating the use of the

first alternate fingering. This alternate fingering is

necessary if the above example is to be played smoothly.

First of all, keys numbers two and three close the same

holes. Usually we teach the student to depress both

keys in order to play C-sharp. 1rhis practice is usually

followed because the tones in this particular register

are difficult for most players to sound on their instru­

ment. By depressing both keys the pads close tighter and

more firmly over the holes. This in turn makes the in-

strument speak more easily. However, in a case such as

this one may depress only the number two key and thus

leaving the right hand little finger• free to depress

the D-sharp or E-flat key, number four·, iiihen desired.

In this example the second alternate fingering

should be used. The G-sha.rp or A-flat is played vd th the

thumb hole cover·ed, register key depressed, first two

fingers of the left hand down, and the first two fingers

15 Felix Mendelssohn-Bartholdy, Sonata, measure 76.

28

29

of the right hand down. The object of this alternate finger­

ing is that when you go from C-sharp to G-sharp the little

finger and third finger of the right hand are ~orking

together. Each will be lifted from its hole or key at

the same time.

The flute.

Regular Fingering -r. • • c:>

0 •

Alternate Fingering -r:

• -;-• <>

The regular fingering for F-sharp is better in tune

and also speaks a little clearer.

In a passage such as the preceding, if it were played

very rapidly, the alternate fingering for F-sharp should be

used. If the regular fingerinc were used to go from the

F-sharp to E, it would necessitate raising the third finger

and adding the first two fingers of the right hand simulta-

neously. Whereas if the alternate fingering were used the

player may go from F-sharp to E by merely adding the first

finger of the~ight hand.

2. 1£ ii I Regular Fingering -r :

0

• 0 0

Alternate Fingering ll,. :

fir........ 0

t<~1 ' C!>

As far as intonation betterment or tone quality

there is no difference between the regular fingering

for B-flat. In trying to decide which fingering to use

one must try to determine which fingering makes a passage

seem the easiest for the player in a given situation.

For example in

au< 1£~ ~

a case such as

t't L'l this• 16 •

\

the alternate fingering would be advisable. In going from

the B-flat to D you would only have three fingers moving

on one hand opposed to four fingers moving on two hands,

if using the regular fingering. If one used the alternate

fingering it would necessitate lifting the first finger

and depressing the second and third fingers simultaneously

on the left hand. The thumb may remain on the B-flat

key for D. This produces the same results on D as when

one depressed the octave key.

Regular Fingering I~

• • • •

Alternate Fingering --(':

0 - 0 -o Dk'~o

30

16 Jacques Ilbert, Concerto for Flute and Orch., meas­ure 105.

l?

\

The above example is a good illustration of when

the regular fingering should be used. 18

The above is a very clear example of when to use

the alternate fingering for D. In going back and forth

from C to D, it is very easy to execute this passage

with the aid of the alternate finger. All this alternate

fingering involves is merely raising and depressing the

D key with tie first finger of the right hand.

4. llli 6 I Regular Fingering 1 Alternate -/• -r•

: I :

Fingering

0 J 0

~ I ~ £'-

' l('&.T/

The preceding example is an execellent illustration

of when the regular F-sharp fingering should be used. The

regular fingering for F-sharp is a little clearer and

31

17 Jacques Ilbert, Concerto for Flute and Orch., meas. 89.

18 Johann Sebastian Bach, Sonata IV in C Major, meas. 47.

19 Claude Debussy, Arabesque, measure 104.

stronger than the alternate fingering.

The alternate fingering would be good in the case

of trilling from F-sharp to G, or in going from E to

32

F-sharp in a rapid passage. Such is the case in the follow-

The oboe.

JI(, B Regular Fingering Alternate :r. : :r , , -- • • -

'..: • 0 a ---;--.. ~21

f£s; t ; '~,. r tf t r r r 1 \J

The above example is a good illustration

showing one of the uses for the regular fingering.

Fingering

This fingering is also very good to use in playing chro­

matically.

In this example one can see a perfect use of the

20 Claude Debussy, Arabesque, measure 91.

21 Hymn, Christ the Lord has Risen Today, measures 15-16.

22 Wolfgang A. Mozart, Minuetto from "Don Giovanni", measures 30-32

33

alternate fingering which is sometimes termed the 11 forked F".

To go from F to D all that is necessary is the addition

of the second finger of the right hand. If' tne regular

fingering were used, in such a cast as this, the E would

speak slightly so as to give the effect of' a grace note. i#=Q

2. \£ lRegular Fingering Alternate Fingering • • ~

0 0 0

• • • 760

0 0

This is an example for the use of the regular

G-sharp fingering. This is a good fingering to use when

The alternate fingering is a good fingering to use

for trilling from G to G-sha.rp or in going from G-sharp

to G and F-sharp and back in rapid succession.

3. lf\ Ba j Regular Fingering Alternate Fingering • • ~ • 0 0

• 0 • 1 0-

0 0

23 Schottische, Mountaine Belle, measure 22.

24 W. A. Mozart, Concertino, measure 118.

This is an example of when to use the regular B-flat

fingering. There is no fingering problem here. The regu­

lar fingering is also veriy good in playing chromatic ·-

passages • ..L _.... . ..L + , 26

J£eiJ LJ ( Lt/ 3

34

The above example illustrates the alternate fingering

usage. To go from B-flat to G-sharp or A-flat you merely

add the second finger of the left hand. To use the regular

B-f lat fingering in an instance such as this would be

veriy impraticable.

16 6" I 4. 6 Regular F'ingering

8 • • -.-• o• :ll':...y t~

Alternate Fingering e • ! 41.rs l<e.7

• •

The above example of the use of the regular finger-

ing is very typical of its usage. However, in this example

if one uses the regular fingering for E-flat, the "forked F"

fingering should also be used.

25 W. A. Mozart, Concertino, measure 124

26 Ibid., measure 83

27 W. A. Mozart, Concerto, measure 94

In the preceding example the need for the alternate

E-flat is shown. If the regular E-flat fingering were

used, the little finger of the right hand would not be

free to depress the D key, number four. However, with

the use of the left hand E-flat key, number five b, the

right hand little finger remains free to depress the

D-flat key and thus makes this passage technically easy.

The saxophone.

1. [j[i§i~· ~lfIRegular

-1- I 29

·w; c ,,. t 1si2f:J Ir J.1

Fingering o c-kC'VI g '1

-0 0 0

I I I I

Alternate Fingering • 0

I(_!!_ 0 0 0

The above example illustrates a passage where one

should use the regular fingering. There is no fingering

problem if one uses the regular fingering in executing this

passage.

28 Thomas F. Dunhill, Capriccietto, op. 81, No. 3, measures 67-68.

29 J. B. Singelee, Edited by F. Henri Klickmann, measure no. l, 2.

35

>

The preceding illustration is an example for the

use of the alternate fingering. The alternate fingering

facillitates going from R to c. 2.fCI lt'o \ Regular F'ingering

30

, ' 1

• • • -«?>

• 0

Alternate Fingering • • • •

Fo 0

36

The above illustration shows the need for the use of

the regular fingering for F-sharp. There is no problem in

fingering here and it is desirable to use the regular

fingering. Alternate fingerings should be used only when

a specific need arises.

. . • ;.JI- t!!f 31

1£ 11 ~ !if f' tmilli 1 The preceding example is a good illustration of when

to use the alternate fingering for F-sharp. This alternate

fingering is ideal for going from F to F-sharp. As the

30 Gabriel Pare•s, Premier Solo De Concours, measure 44.

31 ~.,measure 99.

example illustrates, it is very good for playing chromatic

passages. If you try to use the regular F-sharp fingering

in playing such a passage very rapifly, the G will speak

was a grace note. and the passage would sound as though G

3.ill~~i~e~[I Regular Fingering Alternate Fingering • • 0

0 0 0

II I. :H=-.:t. .KU' . • • • 0 C!I 0 µ • 0 () - -• 0 0 0 • 0 0 0 0

37

The preceding example illustrates a typical situation

where the regular fingering

tl#t@ [fj I .. l should be usJ_d.

Ji& l tf]J tEif i

In the preceding examples you see three good uses

for the first alternate fingering for B-flat. In the case

of this alternate fingering, it is very easy to go from

F to B-f lat or from B-flat to F. The only thing that is

necessary is to lift the second and third fingers of the

left hand or depress them, closing the holes and ring.

This fingering is very beneficial in passages such as the

preceding.

32 Gabriel Pares, Premier Solo De Concours, measure number 87.

In the two preceding examples the same principle

holds true except in this case the alternate f:i.ngering,,

tr1e second one listed. This alternate fingering facilli-

tates going from F-sharp to B-flat or A-sharp.

1£ 11 18 f£1•/J7,Blc9] liq;$ @flJQA In the above examples are some passages where

it would be an ideal situation to use ti1e tnird alternate

. fingering for B-flat. 'iJhen fingering the B-flat in this

manner the first finger of the IE.ft hand depresses the

first key and the side key"H" simultaneously. In using

this alternate fingering it is easy to get a "rocking

motion" in going from B-flat to A, B-flat to G, B-flat to

G-sharp and B-flat to F.

The bassoon.

Regular Fingering • • •

Fingering

3~ H. Maury, 5th Contest Solo, measure no. 124.

38

The alternate fingering for A-flat facillitates

going from A-flat to F. All that is entailed in going

39

from A-flat to F by using this alternate fingering is rais­

ing the thumb of the right hand off of pad number four

and depressing key number six with the right hand. If the

regular fingering were used it would necessitate sliding

the little finger of the right hand from key number six

to ltey number four. In the later case you wo;ild be using

the same finger twice in succession which is not advisable.

2. la 1 lo I Regular F1inge:ing 1 Alt:_rnate Fingering

! I : • H.-r: • •

The above example illustrates a good situation

where one should use the regular fingering. The regular

fingering works much better than the alternate fingering

in passages which are chromatic.

··~11:1t u 13F'' The preceding example illustrates the need for the

34 C. Saint-Saens, op. 168, Sonata for Bassoon .and Piano, second movement, measure no. 48.

35 Jaromn Weinberger, Sonata for Bassoon and Orchestra, measures no. 11-12.

40

alternate B-flat fingering. By using the alternate

B-flat fingering in going from B-flat to G one merely

lefts the thumb of the right hand and adds the third finger

of the right hand simultaneously. Again one eleminates

using the same finger twice in succession. For instance

if the reeua.lr fingering were used the third finger 01' the

right hand would have to slide off of' the number two

key to close the hole where the third finger plays, in

order for the instrument to sound the G. Sliding is

not considered good except in cases where it is unavoid-

able or where it is easier th[\n the other fingering choice.

In this instance the alternate fingering choice was :r.ruch

cimpler and practical.

3.(31 id \ Regualr Fingering

I j I 36

t ~ :

• 0

• 0 0 0

1Alternate Fingering • I l.f.•

7...!L 0 0 0

The above example is an illustration of when one

should use the regular E-flat fingering. This fingering

is preferred when going from E-flat to c. All that is

36 L. Van Beethoven, Symphony No. 3_z_ found in the Scherzo Allegro Vivace section.

necessary to go from E-flat to C when using tnis fingering

is the addition of the second fing€r of the left hand.

I h; t'T tJ 1 i' f j The preceding example illustrates the need for the

alternate fingering. In this instance the notation is

from E-flat to c-aharp or D-flat. To go from E-flat to

C-sharp or D-flat one adds the third finger of the left

hand.

41

4 •. ~19~: ~·o~~ Regualr F'ingering Q I

Alternate Fingering

: I t • -: I

"'r-k!; • I , ~ ""J'" CJ .rey I

• : I{. r. s

I The little finger of the right hand depresses both

number four and five keys when using the regular fingering

for F-sharp. Therefore it is very easy to go to G because

all the player must do is slide his lettle finger off of

number five key and keep number four key depressed.

The alternate fingering enables the player to go to

any note which requires the use of either tt..e little finger

pf the right hand or left hand. If the regualr fingering

is used in such passages the little finger .. of the right

hand is not free.

A. BOOKS

Globus, Rudo s., The Woodwind Anthology. ·New York: A & F Printing Service, Inc., 1952. 94 pp.

Lang, Paul Henry, Music in Western Civilization. New York: W. W. Norton & Company, Inc., l94l. l067 pp.

Mursell, James L., Music Education. New York: Silver Burdett Company, 1956. 379 pp.

Ulrich, Homer, Music: A Design for Listening. New York: Harcourt, Brace and Company, 1957. 443 pp.

B. PERIODICAL ARTICLES

Christmann, Arthur H., "What Basic Principles Lie Behind Fingering Choice?" Woodwind, October, 1952, 6-18.

C. UNPUBLISHED MATERIALS

Boyd, Earl W., "Physical and Psychological Aspects of Wood­wind Playing," a phamphlet produced at Charleston, Illinois, by the Department of Music, Eastern Illinois State College.

Haney, Gene E., "Similarities and Contrasts in Woodwind Instruments," Eastern Illinois State College, March 5, 1956.

D. TECHNIQUE BOOKS

Clarinet (complete methods)

Klose, "Complete Method," Published by: Carl Fischer, Inc.

Klose, "Complete Method," revised and augmented by leading French clarinetists, Published by: Leduc.

Lange nus, "Complete Method," Published by: Cundy~Bettoney, Inc.

Lazarus, "Complete Method," Published by: Carl Fischer, Inc.

(intermediate)

De Captio, "Clarinet Method" (Book II), Published by: Be lwin, Inc.

Gekeler-Hovey, "Clarinet Method" (Book II and III) Published by: Belwin, Inc.

Hovey, "First Book of Practical Studies, 11 Published by: Belwin, Inc.

(other miscellaneous study material)

Jeanjean, "18 Etudes," Published by: Alfred Music Publishing Company.

Langenus, "Modern Clarinet Playing," Published by: Carl Fischer Publishing Company.

\Hedermann, "32 Clarinet Studies", Published by: Cundy­Bettoney, Inc.

(complete methods)

Altes, "Complete Method, 11 Published by: Ca1~1 Fischer, Inc.

Eck, Emil, "Method for Flute" Published by: Belwin, Inc.

Popp-Soussman, "Complete Method," Published by Carl Fischer, Inc.

Vo.xman, "Advanced Method for Flute" Published by: Rubank, Inc.

(miscellaneous studies)

Andersen, 11 24 Etudes, Op. 33" Published by: Carl Fischer, Inc.

Andraud, "The Modern Flutist" Published by: Andraud Music

Company

Boehm, "Twelve Studies," Op. 15, Published by: Carl Fischer,

Inc.

Boehm, "Twenty-four Caprices," Op. 26, Published by: Carl

Fischer, Inc.

Boehm, "Twenty-four Studies," Op. 37, Published by: Carl

Fischer, Inc.

Gariboldi, "15 Etudes Modernes", Published by-: Litolff r.Iusio

Publishing Company.

Moyse, "24 Petite Etudes, 11 Published by: Leduc Publishing

Company.

Moyse, "12 Etudes de Grande Virtuosite" (Chopin) Published

by: Leduc Publishing Company.

Oboe

(intermediate methods)

Gekeler, "Method for Oboe," Published by: Belwin, Inc.

Gekeler, "First Book of Practical Studies," Published by:

Belwin, Inc.

Gekeler, "Second Book of Practical Studies," Published by:

Belwin, Inc.

Hetzel, "Visual Class Method," Ptlblished by: Ditson Music

Company.

(complete methods)

Andraud, "Practical and Progressive Oboe Method," Published

by: Andraud Publishing Company.

Langey, "Tutor for Bobe," Published by: Carl Fischer, Inc.

Niemann, "Oboe Method (rev. by Labate)" Published by: Carl

Fischer, Inc.

BASSOON

(beginning and intermediate material)

Field, "Bassoon Method," Published by: Cole Publishing

Company.

Kessler, "Basic Bassoon Method", Published by: Carl Fischer,

Inc.

Lentz, "Bassoon Method(Boo~s l-2) 11 , Published by. Belwini Inc.

Skornic ka, "Elementary Method," Published by: Ru bank, Inc.

Voxman-Gower, "Advanced Method, Vol. I-II," Published by:.

Rubank, Inc.

V~eissenborn, "Studies for Bassoon, Book II", Published by:

Carl Fischer, Inc.

(complete methods)

Bourdeau, "Grande Methode Complete 11 , Published by Leduc Publish­

ing Company.

Jancourt, "Grande Method," Published by: Boosey-Ilawkes Publish­

ing Company.

Weissenborn, "Practical Bassoon Method," Published by: Carl

Fischer, Inc.

SAXOPHONE

(intermediate st11dies)

Endresen, "Supplementary Studies," Published by: Balwin, Inc.

Hetzel, "Visual Class Method, 11 Publlshed by: Ditson Music

Publishing Company.

(complete methods)

Klose, 11Methode Complete," Published by: Leduc Publishing

Company.

Langey, "Tutor," Published by: Carl Fischer, Inc. -

Mayeur, "Method", Published by: Carl Fischer, Inc.

E. Solos

CIARINET

(collections)

Fischer, "Let Us Have Music"

Presser, "First Solos"

Rubank, "Indispensable Folio"

Wi tmark, "Clarinet Repertoire"

(medium solos)

Aubert-Waln, "Aria and Presto," Published by: Kjos Publishing

Company.

Bergson, "Scene and Air," Published by Cundy-Gettoney Publish­

ing Company.

Dubussy, "Petit Nigar," Published by: Leduc PublishinG

Company.

Guilhaud, "First Concertino, 11 Published by: Ruba.nk, Inc.

(difficult solos)

Bassi, "Nocturne," Published by: Rubank, Inc.

Brahms, "Sonata No. I," Op. 120.

Cohen, "Prelude and Tarantella".

Debussy, "Premier Rhapsodie," Published by: Durand Music

Publishing Company.

Mendelssohn-Bartholdy, "Sonata".

Spohr, "Concerto I," Op. 26.

Weber," Concerto No. 1 in F minor,Op. 73", Published by:

Carl Fischer, Inc.

FLUTE

(Easy Solos)

Hindemith, "Echo, 11 Published by: The Associated Publishing

Company.

Kuhlau, 11Menuett, u Published by: Cundy-Bettoney Publishing

Company.

St. Aaens, "The Swan," Published by: Carl Fischer, Inc.

(Collections)

Rubank, "Concert and Contest Collectionu.

Rubank," Indispensable Folio"

(Medium Solos)

Moyse, "Sarabande, 11 Published by: Leduc Publishing Company.

(Difficult Solos)

Bach, "Sonata IV in C Major".

Chamindde, "Concertino," Published by: Boosey-Hawkes Publish­

ing Company.

Debussy, "Arabesquett.

Enesco, "Cantabile et Presto," Published by: Boosey-Hawkes

Publishing Company.

Godard, "Valse," Published by: Cundy-Bettoney Publishing

Company.

Hindemith, "Sonata, 11 Published by: The Associated Publishing

Company.

Ilbert, "Concerto for Flute and Orchestra".

Telemann, "Suite in A. minor, 11 Published by: A.ndraud Music

Publishing Company.

OBOE SOLOS

(Easy)

Bakaleinikoff, "Elegy 1 11 Published by: Belwin, Inc.

Cohen, "Ario so, tt Published by: Carl Fischer, Inc.

(Collections) (easy-medium)

Balwin, "72 Oboe Solos".

Fischer, "Oboists Repertoire Album" • ..

Kjos, "First Book of Solos".

(medium solos)

Bassi, "Nocturne 1 " Published b;;: Rubank, Inc.

Hande 1, "Sonata I 1 " Published by: Cundy-Bettoney Publishing

Company.

Ravel, "Pavane," Published by: Eschig Publishing Company.

(difficult solos)

Dun.hill, "Capriccietto".

Hindemith,, "Sonata," Published by: The Associated Publishing

Company.

:r,lpzart, "Minuetto from Don Giovani".

Mozart, "Concertina."

Schott ische, "Mountaine Belle u.

Telemann, Concerto," Published by: Litollf Publishing Com-

pany.

Williams, "Concerto," Published by: Oxford University Press.

Vivaldi, "Sonata in G minor," Published by: McGinnis Publish-

ing Company.

Bassoon Solos

(Easy)

Buchtel, "Jolly Sailor," Published by: Mills Publishing

Company.

Delamarter, 111',olk Song," Published by: Witmark Publishing

Company.

Prout, "Romanza," Published by: Mills Publishing Company.

(collections)

Belsin, "76 Bassoon Solos". -

Rubank, uindispensable Folio".

(medium)

Mozart,, "Andante and Minuetto,,•1 Published by: Rubank,, Inc.

v\eber,, "Rondo (Concerto in F) 11 , Published by: Rubank, Inc.

(difficult)

Hindemith, "Sonata," Published by: Schott Publishing Company.

Maury, 115th Contest Solo".

Saint-Saens, "Sonata for Bassoon and Piano, Op. 168 11 •

Weinberger, "Sonata for Bassoon and Orchestra".

Weber, "Concerto in F, Op. 73", Published by: Ricordi

Publishing Company.

(SAXOPHOJ:·.1E SOLOS)

Easy

Gurewich, "Melodie D'Amour," Published by: Schirmer Music

Publishing Company.

Ravel, 11 Pavane," Published by: Cundy-Bettoney Music Publish­

ing Company.

(collections)

Easy

A.msco, "Everybody's Favorites (51 pieces)".

Fischer, "Let Us Have Music (Gaylord)".

Rubank, "Indispensable Folio".

Medium

Andrieu, ttpremier Solo de Concours, Published by: Alfred

Music Publishing Company.

Aubert, "Solo de Concours, 11 Published by: Alfred Music

Publishing Company.

Barat, "Elegie," Published by: Selmer Publishing Company.

Combelle, "Premier Solo de Concert," Published by: Alfred

Music Publishing Company.

(Difficult)

Debussy, 11Rhapsodie, 11 Published by: Durand Publishing

Company.

Mil11aud, "Scaramouche, 11 Published by: Elkan-Vogel Publish­

ing Company.

Pare' s, "Premier Solo De Cone ours,"