BandDirector.com 1023 posts 0 comments

The major components of a mouthpiece can be generalized to the interior, the facing, and the tip opening. The components and their effects are described below, so you may put your knowledge to use and select the mouthpiece that is best for…
Read More...

Whenever there is more than one clarinet player in a room, the conversation inevitably turns to the subject of reeds. In my many years as a performer and teacher, I have endeavored to take some of the mystery and myth out of this open-ended…
Read More...

The major points of interest include the story of JUNO, a dealer locator, strength comparisons, and videos about the product - one featuring an interview with Bernard Van Doren who relates his reasoning behind the revolutionary new reed.
Read More...

Crossing the break is often one of the major problems a clarinet student may have. There are many reasons for this. This section of clarinet study will deal with that problem, and try to eliminate or at least ease the problem with which…
Read More...

The instrument, of course, is important, but the right reed/mouthpiece combination is also essential. I find may young students take the path of least resistance and use a reed/mouthpiece set-up that plays with little effort. This will not…
Read More...

The following tips are from a series of articles which I have written for BandWorld Magazine. The first issue on teaching the clarinet started with the March-April, 1996 issue and will continue through the August-September, 1996 issue. To…
Read More...

Every successful clarinetist is looking for a sound that is focused, clean, clear, even, rich and has a warmness and depth that will resonate and project to the back of the hall. Most importantly, effective sound production will enable the…
Read More...

I always had kind of a weird embouchure and I thought that might be limiting me. So I thought that with a fresh start I would experiment and try to get something more "normal". Thing is, there is still a discrepancy between what feels good…
Read More...

To get a feel for this, find a wall that is flat from floor to ceiling. Stand with your back to the wall so that your heels, buttocks, shoulder blades, and the back of your head all touch the wall. Your face must look straight ahead, not up…
Read More...

If there is a golden rule that can be applied to teaching low brass it is, "Patience and a slow methodical musical approach is the key to healthy, happy low brass students". What is the single most important physical aspect to the…
Read More...