Woodwinds

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…
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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…
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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…
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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…
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An interview with inventor/trumpeter Don Novy by Banddirector.com
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Band directors realize that oboe and bassoon players must always work on their reeds to play with a good, characteristic tone. However, many band directors allow the single-reed players (clarinet and saxophone) to take a reed out of the…
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Most mouthpieces marketed to students in the past and today have a very wide tip opening (the distance from the tip of the mouthpiece to the tip of the reed). A wide tip opening requires a soft reed to play. The theory is that a student can…
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