Article Search
Articles found matching your search parameters: 72
For Emergency Only by Brent Laidler 
The Director's Tool Kit
From The Top by James Ketch
Good sound begins with a proper embouchure
The End Result by Robert Baca
Attaining a good sound has been the goal of brass players for generations.
Lip Service by Tedd Waggoner
The mouthpiece is a brass student's best friend. You can facilitate that bond with an informed recommendation.
Bathtime for Brass by Philip T. Cansler
A clean instrument will greatly improve your ability to play consistently
Range for Brass Musicians by Philip T. Cansler
Tips for expanding range when reaching for those high notes - and low notes
Breathing and Breath Control: Part One by James Neilson
What every brass player should keep in mind about the ins and outs of breathing
Breathing and Breath Control: Part Two by James Neilson
Every brass player should know how the do's and don'ts of breathing can affect performance
Brass Tips by Vincent Bach
An all-time brass master shares words of wisdom on tuning correctly
The Tuning Slide Stops Here!
There's no longer any excuse for having a French horn that's out of tune
Tuba Tuning Hints by David Borsvald
Good tuba tuning can only be achieved by perfect setting of all slides. If you neglect this, you'll have an out-of-tune tuba section.
Clarinet Basics: Part Two - Embouchure Techniques by Julie DeRoche
To achieve a beautiful sound, master these embouchure techniques
Clarinet Basics: Part Three - Mastering Articulation by Julie DeRoche
After a little practice, any player can master articulation with surprising ease
Clarinet Basics: Part Four - Finding Incentive to Practice by Julie DeRoche
Knowing "what" and "how" will help you find incentive to practice
Clarinet Basics: Part Five - Maintenance Habits by Julie DeRoche
Care and maintenance habits are an important part of music education
Clarinet Basics: Part Six - Instruments and Early Success by Julie DeRoche
Quality instruments are crucial to students' early success and commitment
Balancing The Clarinet Section by Dr. James Perone
More balancing acts than a three-ring circus
Understanding Reeds: Part One by Phillip O. Paglialonga
The secret to a good performance rests in a good reed
Understanding Reeds: Part Two by Phillip O. Paglialonga
Improving performance of your reeds will improve performance of your music
Here's The Pitch by Stan Garber
Playing a saxophone in tune starts - and ends - with the mouthpiece
Ask Professor Osland
The answers to your saxophone questions can be found right here
The Doubler's Approach to Flute Playing by Neville Thomas
When a saxophone and clarinet player decides to extend his doubling, the flute should be the instrument he selects.
The Piccolo: An Artist's Approach by John Krell
There are perils involved in playing the piccolo, but there are also many rewards.
Flute Vibrato by David Vornholt
When and how to introduce your students to the secrets of flute vibrato
Equipped for Success by Jim Catalano
Turning beginning drummers into total percussionists starts with the right kit
Blazing a Trail by Donald DeRoche
The path that leads from drummer to percussionist and on to musician is a vital one
Dampening Drills by Jerry Tachoir
Teach students early that a vibraphone is not just a marimba with a pedal
Percussion Crossroads by Al Payson
Hooray! I've completed an elementary snare drum course. So, what's next?
The 100 Percent Solution by Jane Palmquist
These methods will help all of your string students connect better with their music
The Heart of the Matter by Robert Gillespie
String teaching is an enjoyable and rewarding profession. The trick is not forgetting why that's so
A Step Up
Recommending a new string instrument is easier when you know how to look for quality
Hands-On Bow Selection
Teach your students how to find the ideal bow
Heart & Soul by Michael Johnson
Superior cane and quarter-strength grading give clarinetists a unique advantage with Gonzales reeds
Accurate Reading On Mallet Keyboard Instruments by Al Payson
To attain any kind of note accuracy on a mallet-keyboard instrument "eyeball" the bars. This is not a problem when the music is memorized. But it is a problem when playing from a printed part.
Timpani Care & Tuning
Care and Tuning of Your Timpani Drum
Care and Tuning of your Ludwig Snare
The snare drum is the most important part of your drum outfit next to the bass drum pedal
Care and Tuning of your Ludwig Timpani Drum
Learn how to get the most out of your timpani.
Warm-Up Procedures for the Brass Player by James Neilson
Technical competence is achieved only when there is adequate preparation.
Warm-Up Procedures for the Brass Player by James Neilson
Technical competence is achieved only when there is adequate preparation.
The Vibraphone as a Solo Instrument by Bill Molenhof
Before a student or performer can approach the vibraphone from a player's technical viewpoint, the preliminary essential of opening your mind and ears as a listener must become a concentrated effort
Clarity in Executing Lines on the Vibraphone Through the Use of Dampening by Jerry Tachoir
A vibraphone is not a marimba with a pedal!
Chords and Voicing for Jazz Vibes in 10 Steps by Jon Metzger
Today's jazz vibes player enjoys many roles
Timpani Improving Tone Quality and Musicianship by George Frock
It is very important that the timpanist be aware of the correct playing range of each drum
Timpani Techniques by Al Payson
Clean, precise, silent muffling is an absolute necessity for polished performance.
The Art of Transcribing by Steve Fidyk
Transcribing can improve your reading, dictation skills, and help stimulate creativity
Teaching the French Horn - Why all the Mystery? by William C. Robinson
Frequent comments by Instrumental Music teachers who are not French horn players lead one to believe there is a great deal of "mystery" involved in teaching or playing the horn.
Too Many Rudiments? by Cary Nasatir
While there are 40 rudiments endorsed by the Percussive Arts Society, there are nine that are mostly found in concert band and orchestra literature.
Common Oboe Embouchure Problems by Lewis Hilton
Develop a system meaningful to students and teachers by citing error in embouchure
Conceptual Ideas for Jazz Improvisation by Greg Abate
The concept of melody-in-the-moment is one for which every jazz artist should strive
The Technique of Tonguing by James Neilson
There are two schools of thought concerning the technique of tonguing
Teaching Drum Set by Steve Fidyk
Drum set, if used effectively, can prove to be one of the most musical instruments in your school program.
Rehearsal Techniques: Dynamics and Balance by James Neilson
Ways to clarify routine rehearsal procedures in your classroom.
Teaching Drum Set by Steve Fidyk
Drum set, if used effectively, can prove to be one of the most musical instruments in your school program.
Ideas for Improvisation and Solo Building by Greg Abate
Students who are learning how to improvise often need practical examples
Common Flute Embouchure Problems by Lewis Hilton
Develop a system meaningful to students and teachers by citing error in embouchure
Honks, Squeaks, and Proper Clarinet Voicing by Thomas Ridenour
Fine characteristic tone and good tuning are essential to the success of any clarinetist.
Timpani Tuning: Developing Aural Acuity by Al Payson
There are two aspects of learning to tune timpani.
The Clarinet Embouchure by Dr. Edwin C. Kruth
The clarinet embouchure is one of the most widely misused and misunderstood aspects of clarinet playing.
Extending Range and Endurance in Young Brass Players by Bobby Thorp
The subject of extending range and endurance in young brass players is a hot topic for music educators.
Tapping Into Tambourine Technique by Cary Nasatir
Like many auxiliary percussion instruments, the tambourine can present some real challenges for a young player.
Tapping Into Tambourine Technique by Cary Nasatir
Like many auxiliary percussion instruments, the tambourine can present some real challenges for a young player.
String Class Teaching Philosophy by Jacquelyn Dillon-Krass
The teaching of stringed instruments at all levels should be geared toward the development of orchestras.
Beat the Boom by Cary Nasatir
Remember those pictures from ancient drum books that taught how to play the concert bass drum? Whether it was some spiffy kid in a sharkskin suit or someone's grandfather in a bow tie, they showed some techniques that by now should have gone the way of their clothing style.
Tone Production and Resonance by Gary Gray
The flute is more closely related to the human voice than any other musical instrument. While the strings may seem to be more closely related because of their ability to span wide melodic intervals without a noticeable break, the mechanics of tone production on the flute are almost exactly parallel to those involved with the voice.
Tone Development Through Interpretation By Bernard Goldberg
How does one go about developing this variety of expression, this armory of instrumental and physical capability? Why, form music itself! We all practice scales and arpeggios, scales in thirds, sixths, broken chords, and trills, etc., for technical ability, capped off by mountains of beautiful etudes by so many flutist-composers.
So You've Never Played A Stringed Instrument by Jeffrey S. Bishop
Any good musician can become a good orchestra teacher through hard work and dedication. I was taken under the wings of some very well-respected pedagogues, conductors and music educators. With their help, support, and nurturing, I was able to begin a new career. The same help is available to you.
Practice by Susan Younghans
The majority of our students have many outside activities. The time they have available for practice, is very limited and often scattered. Students need to know how to use their time efficiently, successfully and productively. We need to teach them how to practice by modeling and teaching valuable practice skills which are necessary at all levels, much like study skills for academic success.
Trained for Strings? by Jacquelyn Dillon
Public school teachers attending the national symposium on string pedagogy at Wichita State University were asked to create a list of the most important elements that should be included in all college and university string teacher training program. Did your program give you these?
Teaching the Flute to Students with Braces – No Bad Sound Days by Valerie Simosko
The majority of student flutists must at some point in their playing career learn to play with braces on their teeth. Rather than cringing at the thought of losing some of your best students to what may seem like an unhappy event, you can capitalize on it by exploring the world of sound production with your student.
Saxophone and Clarinet Reed Preparation by Keith M. Zimmerman
The following procedure is one I developed over many years from readings, tips from others, and personal experience.
Regarding the Fine Art of Practicing by Keith M. Zimmerman
Many students do not know how to practice. I find that the teaching of how to practice is something I must cover in depth with college and private students in all but a few cases.
French Horn Clinic by Philip Farkas
Players continually experiment with instruments, mouthpieces and methods to enlarge the tone, and then revel in the fact that they have such a big tone. All this they do while conductors the world over gnash their teeth and frantically wave the brass down!
