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www.DodgenBand.org
Establishing the Proper Set-­‐up for the Clarinet and Saxophone Immediately Dr. Charles R. Jackson, Director of Bands
Dodgen Middle School
Marietta, Georgia
Cobb County Public Schools
[email protected]
I.
Overview
a. Challenges for inspiring interest for the instrument
b. Identify students most likely to succeed
c. Equipment
d. The critical beginning months of instruction
e. Maintain interest and accelerate progress
II. Challenges for Inspiring interest for the instrument
a. The saxophone is glamorized in the media
b. Display photos of young students involved in playing the clarinet and saxophone
c. Allow students to hear a live trumpet performance
i. Provide a live solo performance at initial band orientation sessions
ii. Provide a live performance with clarinet and sax along with other instruments
d. Emphasize the various performance opportunities for clarinet and saxophone players. Point out that
the saxophone is not part of the standard symphony orchestra instrumentation nor is it part of the
classic woodwind quintet instrumentation. The sax is used, however, as solo instrument in some
orchestral compositions.
i. Symphony orchestra
ii. Symphonic band
iii. Marching band
iv. Woodwind quintet
v. Clarinet and Saxophone choirs and ensembles of various sizes
vi. Jazz band
vii. Soloist
e. Allow student to have personal contact with the instrument
i. Provide an opportunity for student to touch and hold the instruments
ii. Allow students an opportunity to attempt playing the instrument.
Be aware that initial tone production on wind instruments for a beginner is more
demanding than producing a pitch on a violin. This could steer students away who may
be ideally suited for the clarinet or saxophone.
III. Identify students most likely to succeed on the trumpet
a. Top edge of lower teeth relatively straight
b. Seem to easily form a proper embouchure when pretending to rub Chapstick on their lower lip
i. Soft-cushion embouchure
ii. Hard-cushion embouchure
iii. Discuss session with the Zagreb Saxophone Quartet
c. Expressed interest for learning to play the instrument
d. Mature attitude toward learning
e. Facial and dental structure compatible for the mouthpiece
f. Check both hands for:
i. Thickness of finger pads (clarinet)
ii. Number of fingers (Polydactylism)
iii. Injuries, past surgeries, or deformities
g. Check for Ankyloglossia
h. For saxophone, check student’s hands for:
i. ability to reach around the wide, lower section of the saxophone
ii. enough space to manipulate the front keys while not bumping side keys with the inside
area of the hand
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IV. Equipment
a. Mouthpiece
i. Size and shape of chamber and bore
ii. Baffle
iii. Table
iv. Facing
b. Overall instrument quality of material and workmanship
V.
The Critical beginning months of instruction
a. Posture
i. Feet flat on the floor. NOTE: Some advocate feet under the chair, lap tilted downward. I
personally do not subscribe to this philosophy
ii. Shoulders down and relaxed
iii. Spinal stretch
iv. Breathe through the mouth, then exhale without hesitation
b. Preparing the reed
i. Student should soak the reed in their mouth while they assemble the instrument. A
separate container of warm water could be used if available.
ii. Regardless of style or model, ligature screws should be to the student’s right.
iii. The reed should be aligned properly on the mouthpiece table
iv. Once the reed is secured, only a thin hairline of the black mouthpiece should be visible
when the tip of the reed is pressed against the tip of the mouthpiece.
v. No R.S.O. should be allowed in class!
c. Forming the embouchure
i. Teeth on top of the mouthpiece
ii. Lower lip cushions the reed. Lower teeth must not touch the reed.
iii. The chin should have an outwardly flat appearance, never pushed up or bunched up
around the reed.
iv. Corners of the embouchure should prevent “wiggle” (explained in PowerPoint)
v. Articulation
1. Tip of the top of the tongue on the bottom of the tip of the reed
2. Think more “thew” to place the tip of the tongue where the reed will be while
playing. Don’t have students say “tah”
d. Assembly
i. Clarinet
1. Always have cork grease available. Dry corks encourage students to force the
instrument together and can cause damage to the key mechanisms.
2. Always depress the second tone hole ring on the upper joint to raise the bridge
key before attaching to the lower joint to avoid damage.
3. Always place ligature on the mouthpiece first, then slide reed under the
ligature. This will help prevent damage to the reed tip.
ii. Saxophone
1. Use care when attaching the neck
2. Use a gentle left to right motion while keeping an eye on the octave key
mechanism. Do not jam the mechanism during assemble.
3. Avoid any up and down motions while inserting the neck
4. The sax strap should be adjusted so that the mouthpiece enters the mouth at the
correct location and angle.
e. Hand position
i. Left hand on top, right hand on bottom
ii. Place right hand finger pads on the tone hole rings (or pearl caps), and while holding
down those keys, move thumb into place under the thumb rest.
iii. Fleshy part of the thumb, opposite the thumbnail, should be against the body of the
instrument.
iv. Thumb rest should contact the thumb between the tip and first joint.
v. Fleshy part of the left thumb should be on the back tone hole ring (or thumb rest) with
just the edge of the thumb in contact with the edge of the register key (or octave) key.
vi. The hand should form a “U” shape when fingers are properly placed on the instrument
vii. Check to make sure the student is not supporting the weight of the instrument by placing
an index finger up underneath one of the side keys.
viii. Instrument angle impacts embouchure development
1. The clarinet 30° to 40° angle from the body
2. The saxophone should be slightly out of vertical position, with the bottom
farther back.
f. Trouble shooting
i. Make sure the jaw is not moving while student is tonguing consecutive notes
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ii.
iii.
iv.
v.
Make sure airflow does not stop when the student uses the tongue to articulate
consecutive notes
Make sure the instrument angle is correct
Make sure there are no missing pads
Make sure all springs are securely in place
VI. Maintain interest and accelerate progress
In addition to full band experiences, provide and encourage additional opportunities
a. Clarinet / Saxophone Choir
b. Ensembles of various sizes
i. Quintets
ii. Quartets
iii. Trios
c. Jazz Band
d. Solo Work
e. Private lessons