Syllabus for Woodwind Instrument Class: APST 274
MWF 11:00-11:50 |
2 Sem. Hrs. |
Instructor: John Knight
Office: Central 5
Office Phone: 440/775-8270
Email: john.w.knight@oberlin.edu
The primary aim of this course, in compliance with the Music Education Division mission statement, is to prepare students for the art of teaching music by developing students' musicianship, pedagogy, and scholarship. Primarily for music education majors with an instrumental emphasis and others desiring knowledge of the basic fundamentals of woodwind technique. The course will include performance fundamentals on at least three woodwind instruments. APST 274 is a prerequisite for 275 except for those students who are at an advanced level of performing ability of a woodwind instrument and who have successfully completed an audition/ interview with the instructor.
Projected Clinical and Field experience hours: 6.
Prerequisite: consent of instructor. Enrollment limit: 12
- Materials
A. Textbook: Frederick Westphal, Guide to Teaching Woodwinds. Wm. C. Brown Company, 1990.
B. Supplementary materials to be distributed in class.
C. Assigned readings from journal articles.
D. Reading from texts on reserve, including: The Art of Bassoon Playing, The Art of Oboe Playing, The Art of Flute Playing.
- Objectives
A. To develop playing habits and skills which will result in a firm basic technique on flute, oboe and bassoon.
B. To examine and become familiar with pedagogical approaches for arranging these instruments.
C. To develop a knowledge of peripheries associated with each instrument studied, i.e., selection of instruments, mouthpieces, reeds, literature, maintenance and basic repair.
D. To develop a resource for teaching through the compilation of notes and materials taken from this course and observation of area students including jazz improvisation.
- Competencies expected on each instrument:
A. Scales, arpeggios, etudes, solos and/or ensemble music of an intermediate level should be performed with a reasonable degree of proficiency, demonstrating characteristic tone and proper performance techniques.
B. Nomenclature pertaining to the instrument.
C. Transpositions commonly related to the instrument.
- Evaluation will be based on the following:
A. Preparation and class work, including attendance 30%
B. Individual playing and written tests on clarinet, saxophone and flute 30%.
C. Examination based on assigned reading and lecture material at mid-semester and at the conclusion of the semester 20%.
D. Notebook - contents (including written summaries of readings from other than the textbook), coherence, legibility 20%.
Woodwind Course Calendar - Fall
| Session |
Assignment |
| 1 |
Course introduction |
| 2 |
Bassoon student qualification |
| 3 |
Recruiting and transfer |
| 4 |
Playing position and embouchure |
| 5 |
Tone quality and production |
| 6 |
Vibrato |
| 7 |
Half hole and whisper key technique |
| 8 |
Flick and resonance of keys |
| 9 |
Selection of instruments |
| 10 |
Articulation |
| 11 |
Bassoon intonation |
| 12 |
Bassoon reed sources |
| 13 |
Adjusting the reed |
| 14 |
Study materials and methods |
| 15 |
Tenor clef |
| 16 |
Review |
| 17 |
Midterm bassoon |
| 18 |
Midterm bassoon |
| 19 |
Oboe embouchure |
| 20 |
Tone quality and production |
| 21 |
Vibrato |
| 22 |
Articulation |
| 23 |
Harmonics |
| 24 |
Reed sources |
| 25 |
Adjusting the reed |
| 26 |
Selection of instruments and methods |
| 27 |
Oboe exam |
| 28 |
Oboe exam |
| 29 |
Flute embouchure |
| 30 |
Tone quality, vibrato |
| 31 |
Tuning, intonation |
| 32 |
Harmonics |
| 33 |
Articulation |
| 34 |
Double tonguing |
| 35 |
Triple tonguing |
| 36 |
Selection of instruments |
| 37 |
Graded methods and materials |
| 38 |
Review |
| 39 |
Playing exam |
| 40 |
Take home exam |
|
|
Assigned Readings
Woodwind Anthology
Clarinet
1. That Important First Clarinet Lesson. George Wain, pp. 60-61
2. Clarinet Teaching Tips for Better Fundamentals. Wain, pp. 48-49
3. Starting the Clarinetist. Harold Palmer, p. 101
4. A Guide for Starting Beginners on the Clarinet. David Etheridge, p. 322
5. Crossing the Clarinet Break. Armand Abramson, p. 235
6. Prepared and Legato Fingering Techniques. Clark Brody, p. 293
7. The Development of Artistic Clarinet Tonguing Technique. Alan Drake, p. 156
8. Clarinet in the Concert Band. Russell Landgrobe, p. 354
Saxophone
1. Preparing to Start the Saxophone Tone. Larry Teal, p. 449
2. Teaching Vibrato. Rosemary Lang, p. 462
3. Saxophone Playing. George Wain, p. 465
4. The Saxophone Embouchure. Walter Smith, p. 505
5. Teaching Saxophone Tone Production. Fred Hemke, p. 523
6. Off to a Good Start. William Schwab, p. 526
7. Factors Affecting Saxophone Intonation. Larry Sheets, p. 531
8. A Saxophone Lesson With Fred Hemke. Fred Hemke, p. 565
9. Jazz Styling for the Young Saxophonist. Rex Matzke, p. 580 |
