#daddariowwmethod

Do you ever consider the bass clarinet to be uncharted territory? The bass clarinet provides a unique color to your clarinet section and is a wonderful addition to any ensemble. However, the students playing this instrument frequently encounter problems that may seem like a mystery. Here are some tips for playing and teaching this lower member of the clarinet family.

EMBOUCHURE:

The bass clarinet embouchure is generally the same as with the soprano clarinet. Though less jaw pressure is required, the corners should still be firm (no puffing of the cheeks), the chin flat and pointed, and the lower lip a firm cushion for the reed to vibrate against. Too often, students have poorly formed embouchures, which leads to many of the problems they encounter while playing this instrument.

I frequently encounter bass clarinet students with lower lips that are rolled in too much. In order to create a firm cushion, the lower lip needs to be visible from the outside of the mouth, with only a minimal amount of lip covering the bottom teeth. You might consider having your students pretend to drink through a straw to better grasp the concept of a firm lower lip. Also, encourage students to use a mirror while they play, so they can see if their lower lip is facing outward.

Since the mouthpiece is nearly twice the size of a soprano clarinet mouthpiece, you will need to place about twice the amount of mouthpiece in your mouth. Just as with the soprano clarinet, the optimal pressure point for the lower lip is at the point where the mouthpiece and reed meet. 
Students frequently have too little mouthpiece/reed in their mouths. Taking in more mouthpiece/reed will improve tone quality and response. (If the student squeaks after taking in more mouthpiece, they have gone too far!)

The angle of the mouthpiece should be approximately 45 degrees, the same as the soprano clarinet. However, the necks of most bass clarinet models place the mouthpiece at an angle that is closer to 90 degrees. To compensate, consider bringing the bell of the instrument closer to you, possibly even under the chair. This will cause the body of the instrument to lean forward, but will put the mouthpiece and reed at a more appropriate angle.

AIRSTREAM:

The bass clarinet generally requires much more air and even greater breath support than its soprano counterpart. Have your students aim to fill the entire instrument with air and use a fast enough airstream to reach the bell of the instrument. Proper posture is imperative to have good breath support and engage the abdominal muscles. Most students are not using enough air or the airstream is not fast enough
to reach the end of the instrument.

TONGUE POSITION AND ARTICULATION:

The oral cavity for playing bass clarinet needs much more space. Create a taller oral cavity by putting more space between the molars. Opening up the oral cavity should add more depth a student’s tone quality.

The tongue position is still raised as if saying “hee”, though perhaps slightly lower than with the soprano clarinet. The tongue should be forward and close to the tip of the reed

Articulating on the bass clarinet should be with as light a touch as possible, with only the front part of the tongue moving. If your students have a heavy articulation (i.e. a “twacking” sound when tonguing) or visible movement in the throat/neck, these are indications that the tongue is moving too much. Remind them to keep the tongue close the reed at all times.

TECHNICAL FACILITY:

Keep building technical facility! Often times, students switch to bass clarinet in their second year of music instruction and continue to do so for the rest of their education. Unfortunately, the majority of the music for middle school band and orchestra does not require much technical facility or range from the bass clarinetists. Thus, these students never develop the skills that their soprano clarinet colleagues are developing and often experience problems with learning more challenging music in high school. Continue to challenge young bass clarinetists with music and exercises that build technical facility and range. You might even consider rewriting some parts to increase their difficulty. It will pay off in the long run! 


Crossing the “break” can be a challenge for any young bass clarinetist. Remind them to have proper hand position with curved fingers that remain close to the keys. The fingers must move quickly when crossing the break. Keeping the right hand down while playing the “throat” tones will make this register crossing easier.

Difficulty with response in the clarion register (notes over the “break”) is very common especially amongst younger bass clarinetists. Be sure the lower lip is firm—without biting or increasing jaw pressure—and the air speed is fast. Also, try to approach these notes as being the lowest notes of the bass clarinet. (Think low, not high. “Mind over matter.”) Try playing register slurs by steadily holding a low note and then adding the register key. The upper note should speak immediately and should be equally stable. If not, the air stream is likely to slow or the embouchure could be “biting” or pinching the reed off.

The altissimo register (notes above C6) can be particularly challenging for bass clarinet students. The usual fingerings for this range are not very responsive on the bass clarinet, and the timbre of these fingerings is rather uncharacteristic for the instrument. Instead, I advocate for using overblown throat tone fingerings. For example, high C# can be played with the register key and bottom left-hand index finger (no thumb key). High D can be played with just the register key. High D# can be played with the register key and the throat G# key, and so on. These fingerings will be much more responsive, have better intonation, and will better match the sound quality of the clarion register. Encourage your students to experiment with these fingerings!

EQUIPMENT:

Use a good reed! Too often, a student’s reed is very poor (i.e. chips at the tip) and incapable of producing a good tone. Your students should have many reeds to choose from and should be picky in selecting the best reeds to play on. The D’Addario Reserve reed is an excellent option!

Use a reed that is strong enough to produce a warm, dark, rich sound without being fuzzy or difficult to play. A reed is too soft when it produces a tone that is thin, “buzzy,” or edgy. 
Many students are not using a reed that is an appropriate strength for them.

Invest in the highest quality instruments and mouthpieces. Using high quality equipment is essential for a student’s success on this instrument. Far too often, a student’s instrument is of poor quality, or in poor condition and inferior to the student’s abilities.

Use a peg to raise and lower the instrument to the appropriate height. The instrument should come to you, not vise versa. The instrument should be at a height that allows you to sit tall with the head up and level. Never rest the bell of the bass clarinet on the floor; always use a peg, even if at its lowest position. Younger students may not be tall enough to properly reach the bass clarinet. Try giving them a thick book or similar object to provide an extra boost.

Consider using a neck strap, in addition to the peg. This will help relieve the weight held by the arms and hands and can provided more stability in tone production and improve technical facility. 



Do not pull out at the middle to adjust intonation. The long end of the tube tends to be sharp, but pulling out at the neck should accommodate this. However, pulling out this much at the neck often causes the throat tones (G4—A#4) to be flat, so consider venting the bottom two RH side keys to raise the pitch.

The bass clarinet can easily fall out of adjustment. Students must take extra caution when assembling the instrument, being sure not to bend the rods and keys. Keep the corks properly greased and store the instrument in a good quality case that does not allow the instrument to move when not in use. Key leaks and maladjusted keys are very common requiring these instruments to have more frequent maintenance. 


This outline is designed for a composer who is interested in writing new music for the clarinet. I think the outline structure is more helpful than digging through tons of prose.  Of course, a composer’s greatest asset to clarinet writing is a clarinetist, so don’t forget to consult your clarinet-playing friends!

I. CLARINET PHYSICS

A. The clarinet plays on only half of the overtone series.

This is due to the cylindrical bore of the instrument.

B. The partials are separated by 12ths instead of octaves (like the rest of the woodwinds).

The clarinet only functions on the odd partials.

C. The omission of even-numbered partials gives the clarinet it’s distinct sound.

D. Due to the lack of even-numbered partials, however, learning to play the clarinet can be quite frustrating.

Young players often struggle with learning how to play in the clarion and altissimo registers because of the distance between partials.

E. The clarinet is a closed pipe.

The more holes that are closed, the longer the pipe is. The longer the pipe is, the lower the pitch.

New registers are created by opening new register keys and voicing. This causes the clarinet to overblow at the twelfth.

The flute is an open pipe which allows it to overblow at the octave.

F. Here is a graphic that shows the partials on the clarinet in relation to notation (for clarinet in B-flat):

The chalumeau and throat tone ranges are part of the first partial.

The throat tones are named as such because opening tone holes above the chalumeau (fundamental) register creates them. This creates an interesting (to say the least) sound.

The Clarion/Clarino range is the third partial.

Everything above the highest C in the clarion register is part of the “altissimo” range. Traditionally, the fifth partial is from D to G, but due to intonation and technical issues from time to time, this usually changes.

G. B-flat Clarinet versus A Clarinet

Before clarinets were chromatic instruments, they came in different keys.

B-flat and A are the most common due to their ideal sounds and access to better key signatures.

They have slightly different characters

A is darker, more subtle and blend-able

B-flat is a little brighter, more brilliant

H. Intonation

The clarinet has a few issues in intonation that are caused by compromises in the instrument’s construction.

The lowest written F on the instrument is considerable flatter than other notes. This fundamental pitch is flat so that the twelfth can be in tune.

Dynamics also play havoc with the clarinet’s intonation

forte dynamics will result in lower pitches

piano dynamics will result in higher pitches

II. BASIC ISSUES IN THE CLARINET

A. Throat tones

This is the worst range in the clarinet (see clarinet range graphic below).

This register should not be used in music with loud dynamics or if the composer desires a very characteristic, clear clarinet sound.

B. Scales are the “preferred mode of transportation.”

If a clarinetist is given the option to play a glissando from one note to the next, the scale of choice will most likely be F-major, C-major, or a chromatic scale. However, if you seek a chromatic scale, it is best to notate this desire.

There is a difference between a portamento and a glissando. A clarinetist will play a portamento (possible because of the open tone holes and voicing) if there is a straight line connecting the starting note and the destination note, but he/she will play a chromatic glissando if the line connecting the two notes is curvy.

C. Descending at the 12th

Due to the half-overtone series in the clarinet, it is more difficult to descend in big leaps that transcend partials, and it is nearly impossible when they are slurred.

However, it is quite easy to ascend in big leaps.

D. Articulation

Rapid articulation can be a great effect, but it is very difficult. 2. Only very advanced players can double tongue.

III. EXTENDED TECHNIQUES

A. Every composer and clarinetist should own a copy of Philip Rehfeldt’s book, New Directions for Clarinet.

It is full of examples of good clarinet writing and use of extended techniques.

It also provides solutions to the notation of extended techniques. 3. It was written by a clarinetist, and the new edition has a few indexes of fingerings written by Eric Mandat, one of the most popular composers of avant-garde clarinet music.

B. Most common techniques

Microtones

Special fingerings must be employed. Be sure to include fingerings in compositions.

Multiphonics

Again, special fingerings must be employed.

Pitches are usually confined to twelfths.

It would be beneficial to consult a clarinetist on specific multiphonics.

Glissando/Portamento

Portamentos only work in the upper registers!

They will not work in the chalumeau or throat tones, and they are made more difficult when breaching registers.

Pitch bends

Like the portamento, pitch bends must be written in the upper registers.

It is more difficult to bend a note up than it is to bend the note down.

The higher the starting pitch, the easier it is to bend.

Vibrato

The clarinet is not traditionally played with vibrato. If the composer wishes a passage to be played with vibrato, it must be notated.

Smorzato

This is an abrupt, single stroke vibrato produced by a rapid jaw movement. It will increase the volume for an abrupt moment and could also bend the pitch just slightly.

Flutter tongue

This is caused by “R-rolling” the tongue or a glottal growl. b. Technique can be specified, but it will produce nearly the same product. It is also a preferential thing amongst clarinetists.

The higher the pitch(es), the more difficult it is to produce a flutter tongue (due to a required tongue position).

Slap tongue

This technique is more common knowledge amongst doublers.

It is caused by placing a large amount of tongue on the read and suddenly releasing the reed accompanied by a drop in jaw pressure, simultaneously with the initiation of the air stream.

Circular breathing

This technique is especially difficult for some clarinetists. While it is theoretically possible for all clarinetists, I recommend avoiding this technique whenever possible.

Vocal sounds

Singing into the clarinet usually produces a growling sound (which is still quite effective). Consult a clarinetist if you are seeking a more chordal quality.

Shakuhachi-clarinet

It is possible to create a shakuhachi-type sound by removing the barrel and mouthpiece, covering part of the opening at the top of the joint with one’s lip, and blowing across the new opening like a flute. It’s very difficult with instruments that have larger bores.

IV. WHAT THE CLARINET DOES BEST (USE THESE THINGS!)

A. Legato

The clarinet has a wonderfully smooth sound traditionally uninterrupted by vibrato.

Good clarinetists can maneuver all over the instrument without a glitch or interruption in the sound.

B. Dynamics

The clarinet has an easier time producing soft dynamics than other wind instruments regardless of range. Sure, it is more difficult to produce a piano dynamic in the altissimo register, but it is very doable with a good player.

The clarinet can also produce dramatic crescendos and decrescendos quite easily.

C. Range

The clarinet has a very wide range of over three octaves. Some very advanced clarinetists can produce a four-octave range, but composers should stick to the written range depicted earlier in this handout.

Large ascending intervals are easy!

D. Blend

Due to its unique sound, lack of vibrato, and ease of dynamic contrast, the clarinet is wonderful chameleon. It blends into the sounds of other instruments better than the other winds.

E. Genre bridging

The clarinet is a popular melodic instrument for many genres of music. It can often be heard in the following genres (and more):

Jazz

Klezmer

Choro

Raga

Eastern European folk music

Arabic folk music

F. Color

The clarinet has a natural melancholy mood/color, but can produce many more.

Extended techniques like those listed previously in this handout can create a very multicolored instrument.

Each register also provides its own unique color. Clarinetists strive to make registers as seamless as possible, but one can always sense a color change.

G. Athletic Technique

Clarinetists are infamous for their fast fingers.

There is nearly no-such-thing as an impossible technical passage.

If a composer is concerned about a technical passage, he/she can simply consult a clarinetist to take a look at it.

V. WHAT TO AVOID IN CLARINET WRITING

A. Long periods of staccato tonguing.

It’s effective and it sounds great, but clarinetists that can double tongue are few and far between.

It’s exhausting, and the player could get tongue-tied.

B. Extra-long phrases with no breath

Circular breathing is an option, but the brain still needs oxygen. I recommend avoiding any passage that requires circular breathing.

Breathing can be artistic.

C. Rapid chromaticism in the midrange (over the infamous “break”)

Most instruments’ tessitura is right in the middle of their range.

The clarinet’s mid-range is the area called “the break” (between the throat tones and the third partial).

Since the clarinet is “a pipe,” this range forces the clarinet to be the “shortest” and the “longest” it can possibly be.

The throat tone B-flat opens the highest possible tone holes making the pipe the shortest it can be.

The third partial B (the lowest one) closes all of the tone holes on the clarinet making it one of two notes (also the fundamental low E) that come out of the bell of the instrument.

The airflow is forced to change when partials are changed.

D. Rapid chromaticism in the extreme altissimo range (over a G)

Fingerings in this register begin to become ambiguous (as does the pitch, and perhaps sanity).

Calculating fingerings in this register is difficult, and even when they are understood, it is very awkward to move between them.

E. Awkward extended techniques

Impossible multiphonics—consult a clarinetist or Rehfeldt’s book.

Circular breathing (in my opinion).

Key slaps

These are hit-and-miss. Hopefully, if the instrument is well adjusted it won’t make any sound!

Teeth on the reed

It hurts people with sensitive teeth.

It is not surprising that reeds play a very important role in playing the clarinet. Likewise, it is crucial that you select a reed strength that works best for you. The first step in exploring a different reed strength is deciding if your current reed strength is working well for you. These lists might help you diagnose your reed strength problems:

Symptoms of a reed that is too soft:

Thin, bright, almost buzzing tone quality

Spread tone quality, often wild and out-of- control

Flat intonation

Delayed response—in the case of soft reeds, response is usually explosive. This is caused by the tip opening of the reed being completely closed due to the pressure exerted from the jaw. A harder reed might be able to better accommodate that pressure, but biting should be minimized.

Particular struggles with response in the upper register

Symptoms of a reed that is too hard:

Fuzzy, airy, dull tone quality

Sharp intonation

Delayed response—in the case of hard reeds, response is usually airy before the sound eases in. Often times there will be an airy delay between the articulation (release of the tongue from the reed) and the start of sound.

Particular struggles playing at soft dynamic levels

Requires excessive jaw pressure (biting) to produce sound

If you are experiencing any of these issues, you might consider changing to a different reed strength. Doing so will improve your tone quality and response, and allow for a more natural and enjoyable experience. If you do change strengths, the new reeds will likely feel different than you are used to. Be sure to give yourself at least a week to adjust to the new reeds and allow for them to break in properly.

Also, remember that there are different cuts of reeds, which offer even more possibilities! D’Addario currently has two different cuts for clarinet reeds: Reserve and Reserve Classic. You can learn how these two options are different by looking on the back of a box of reeds. Neither one is better than the other; they simply have different characteristics. Choose the cut that feels and sounds the best for you. Have fun exploring different reed options!

Part of successfully starting your journey in music is surrounding yourself with mentors and peers who will encourage your growth for the rest of your career. Selecting a school that meets your needs as a budding musician AND as a unique individual are equally important! Here are some suggestions to guide your thoughts as you consider your options:

What are the “must-haves” for my education?

Have you thought about what is most important to you in your college experience? For example: Do you want to stay in-state, or move across the country? Attend college in a big city or small? Study with a certain professor? What else is important to you in making this decision?

Can I see myself being happy on this campus? Do I like that it’s a major city/small town/close or far from home/etc.?

The location and layout of the campus are CRITICAL to consider when applying. What environment will you thrive in? There’s no right or wrong here, only what works best for you! Make every effort to visit the campuses to which you are applying.

Do I “click” with the studio faculty for my instrument? Who will I study with?

Your major influence during this time is your studio professor, who you will see weekly in your time at college! I can’t recommend enough that you reach out to the studio faculty prior to auditioning to see about meeting them while you’re visiting campus. For your top choice schools, ask about taking a lesson to get to know the professor and let them get to know you. Depending on the school, you may study with a faculty member or a teaching assistant. Ask about this and what the studio is like. What are the expectations? What musical opportunities are available students? How does this line up with what you want?  

What else should I consider?

Do take some time to explore the “other” factors in your education. This might include: cost of attendance and fees, expectation/requirements to live on campus, double majoring/minoring requirements if you’re interested, acceptance of AP credits, or scholarship opportunities.

You’re going to invest so much time, energy, and money in your college experience. Start strong by doing your homework NOW to avoid cramming later. Best of luck to you!

“Never Miss a Monday.”

“Set Goals and Crush Them.”

“Love the Journey, Not the Destination”

I see a lot of inspirational quotes about goal-setting. Like most people, I scroll through my feed without stopping to reflect on motivation. If it’s really profound, I may give it a “like,” and then I move on with my life.

Maybe the saturation of inspirational quotes on social media has softened their impact. Or, maybe the reason it so challenging to take these adages to heart is because we are biting off more than we can chew.  We get too overwhelmed by the enormity of the big picture; we are too scared of the unknown to move in a new direction; we have big, hairy, audacious goals, and yet feel too paralyzed to even start.

#4: Goal-setting

Regardless of the size of your goal, the tasks you create to achieve said goal need to fit three characteristics: tasks must be realistic, quantifiable, and attainable.  Is it realistic to deep clean your entire house in 30 minutes using only a sponge? Unlikely, and therefore not a good goal. Can you measure quantifiable progress in a weight loss journey without first establishing a baseline? Sure, but without results it’s hard to stay motivated. Is mastering a new instrument in 30 days achievable? Nope, so that goal gets discarded as well. Change your thought process to have ALL your tasks fit these criteria and watch your productivity skyrocket.

Whenever I have a large project that seems too nebulous to break down into specific components, I break all my tasks into categories: daily, weekly, monthly, quarterly, annually, and beyond.  Instead of seeing the difficulty of a new piece and discarding it as impossible, ask yourself what you can do in this practice session to move you in a positive direction. Learn 1 measure in the next 3 minutes (realistic: check, quantifiable: check, attainable: check.). Maybe stretch that to the first phrase, and put it away for the day. Come back and repeat the process tomorrow, connecting individual tasks brick by brick until the goal is reached.

“Love the Process” - Part I: Introduction “Love the Process” - Part II: Love the Training, Not the Race “Love the Process” - Part III: Accountibility and your “Why” “Love the Process” - Part V: Work Small, Slow, and Smart

Gotcha! Unfortunately there are no “secrets” or shortcuts to multiple-tonguing, just as there are no shortcuts toward mastery of any musical skill. Some people, of course, can figure certain techniques out more quickly than others, but true mastery rarely comes in any package other than dedicated, focused, and thoughtful practice.

Multiple tonguing, otherwise known as double- or triple- tonguing, is possible on any wind instrument. Such articulation on instruments such as the clarinet and saxophone is not quite as natural as, say, the flute, for which there is no mouthpiece inside of your mouth to affect the position of your tongue. In order to execute this technique (no longer considered an “extended” technique, by the way), you alternate between using a normal single-tongue stroke (‘Ta’ or ‘Da’) and a stroke in which the back of your tongue contacts with the back part of the roof of your mouth (‘Ga’ or ‘Ka’). Which back syllable you use mostly depends on the musical situation, so it is important that you practice both (with ‘Ga’ giving you a more legato sound than ‘Ka’).

For anyone whose single tongue speed isn’t limitless (everybody?), being able to double tongue can theoretically double your tongue speed (as long as you work up the back syllable to be just as fast as your front syllable). So for most people, unless you are a freak of nature, the limiting factor to your multiple tongue speed is the back syllable.

Getting Started:

It helps to get used to the physicality of using both parts of your tongue to articulate  (remember, one side contacts the reed, the other side contacts the back of your mouth) away from the instrument. In your spare time, preferably when you are alone, practice saying, ta-ka-ta-ka, da-ga-da-ga, ga-ga-ga-ga, etc. (It might also help to imitate a certain cartoon character created by Seth MacFarlane whose “catch phrase” involves many ‘guh’ sounds.)

When you start practicing on your saxophone or clarinet, slowly practice articulating with the front and back of your tongue, trying to match the two. Some common problems in the beginning of the process to be aware of are:

Distortion of the sound - You have to move the tongue only as much as it takes to articulate. If your tongue position changes too drastically as a result of the motion, you will hear pitch and/or timbral distortion.

Rhythmic unevenness - If you try to articulate even 8th notes, sometimes they will morph into a dotted pattern. Do your best to keep the air strong so that any awkwardness of the tongue motion doesn’t alter your rhythm.

Incorporating multiple-tonguing in your practice

Start slowly and focus on isolating the back syllable and matching the sound of the front and back articulations.

It’s easier in the middle register, but once you figure it out there, don’t be shy about applying it in the lower and upper registers. It all comes down to tongue position and airspeed, and understanding how to sound as clean as possible.

Double- and triple-tongue your scales and arpeggios. Again, start with fragments, work up to 1 octave, then 2 octave, then full range, etc. Then apply to any technique exercise: double-tongue your thirds, fourths, etc. Double-tongue your overtones! That’ll really throw you for a loop to maintain the right voicing to play higher partials on your instrument and double- or triple-tonguing them.

Find repertoire that demands fast tonguing. Some places to look might include the early 20th-century saxophonist Rudy Wiedoeft and trumpet virtuoso Rafael Méndez. There are tons of pieces for violin or cello or even flute that would require you to use these skills.

Have fun with it and create your own exercises! And practice on your whole arsenal of saxophones or clarinets, not just alto sax or Bb clarinet!

Triple-Tonguing:

As a point of clarification, there is no 3rd syllable in triple tonguing. Double tonguing is TA-KA-TA-KA or DA-GA-DA-GA, while triple tonguing may involve a repetition of a front syllable. The following examples are possible triple-tongue combinations:

TA-TA-KA TA-TA-KA

TA-KA-TA TA-KA-TA

TA-KA-TA KA-TA-KA (I use this most often since it is the same as double tongue – you just need to get used to accenting the back syllable when it lands on the beat.)

Hopefully this relatively short blog post gives you some material to chew on whether you’re new to multiple-tonguing or looking to improve your multiple-tonguing skills. For most of us, it takes a while to figure this stuff out, but if you’re diligent and don’t get discouraged by slow but steady progress, you will be wowing audiences with your impressive tonguing soon enough! Happy practicing!

Every week I’ll have a few students who come to their lessons unprepared. This can be frustrating as a teacher, especially with repeat offenders. If it ever gets completely out of hand, and it becomes clear that the student is not interested in playing their instrument outside of the classroom, then it may be time to have a serious discussion about discontinuing lessons. Even when your students come to their lesson unprepared it’s still your job as the instructor to make the most of your time together. Here are a few strategies that can keep things productive even when your student didn’t practice.

Review Their Previous Assignment

If I’m really low on energy then I’ll just recap their previous assignment. I’ll use the lesson as an opportunity to guide them through the practice session they should have had on their own. This guided practice is better than anything they would do on their own, and can serve as an opportunity to teach the student how a professional prepares music. Students are usually surprised by how many perfect repetitions I require them to perform before I let them move on from a difficult passage.

Harmonize Scales

This is hyper-specific and may only apply to saxophonists, but when my students play their scales for me I’ll usually harmonize with them. It sounds great, and gives you something to do if their scales are slow and unprepared. You can play in thirds or bigger intervals like tenths to reach into the altissimo. I especially like playing a third above my saxophone students when they play their “full-range” scales because I get to creep into the altissimo. While my students are playing Fs and F#s, I’m working on my As and A#. Crossing over the altissimo break on the saxophone is very difficult, so the more reps I can get in this range the better. Harmonized scales sound cool, are challenging for the teacher, and help the student learn their scales. Use your best judgment. For example, harmonizing a beginner’s G-major scale an octave and a tenth up may not be the most productive thing to do.

Discuss Reed Routines

If a lesson is going especially slow, I’ll pull out some new reeds and use it as an opportunity to explain my reed routine. This might seem rude at first, but as a music teacher sometimes I get caught up in only teaching the music. I often forget to explain the nuts and bolts of saxophone maintenance, which includes prepping, storing, and rotating reeds. This investment in time will pay dividends in the future, as your student will show up to lessons with better reeds, and, thus, a better sound. Going through my reed routine with students, to me, is time well spent.  

Duets

It’s helpful to have several levels of duet books handy. I have a range of duet books that accommodate sight reading levels from beginner to professional. I often neglect to assign duets, but they are invaluable to developing students. It may be the only chance a middle or high school student has to play music with a professional musician. Not only that, but after playing they receive immediate feedback on the music.

Learn Simple Melodies

I have a list of about 100 melodies that I expect my students to learn by ear. They are common nursery rhyme-like melodies such as Mary Had a Little Lamb, Oh Susannah, or La Cucaracha. When a student is unprepared, I’ll defer to this list and assign them a melody to figure out on the spot. You can make melodies more difficult by assigning them in different keys, “Play Jingle Bells in F# major.” You can also use melodies as an opportunity to teach some music theory by asking questions like, “On what scale degree does Happy Birthday begin?”, or “What chord is outlined by the first three notes of The Star Spangled Banner?”

Sometimes teaching can be a grind. That’s no secret. However, if you implement some of these strategies, even with your prepared students, it can still keep things fresh and productive.