Page 1

Introducing Instruments: A Teachers Guide to Full Ensemble Teaching of Beginning Band

Angela Schmitt

HRR 499: Honors Senior Thesis

Faculty Advisor: Dr. Kevin Tutt

8 January, 2017
 Page 2

Preface:
This method book will aid teachers as they guide students from the moment they receive their
instrument, until they begin playing from a methods book. Starting students on instruments is the
most crucial aspect of their future performance ability and quality, therefore detailed instruction
is imperative in the beginning stages of instrumental instruction. Commonly, students begin
playing music notation without much, if any, group instruction of fundamental technique. This
method book will address how to best introduce each instrument simultaneously, using detailed
strategies and steps to better address all instrument groups. Our goal is to assist current educators
in teaching their students the proper fundamentals so the students can be prepared to move
quickly and effectively into group music study with a solid understanding of the basic technique
of their instrument. Instructions are segmented by instrument, in tables of larger instrument
groups, allowing the instructor to teach homogeneous, partially heterogeneous, or in full,
heterogeneous fashion, while keeping all students engaged and on the path to success.

Instructional Suggestions:
1) Sound before Sight: Take time before presenting notation to your students. This method book
should be taught over the course of 10-15 45 minute class periods, and should not involve
presenting notation. Echoing buzzing patterns, rhythms, and initial sounds are most
important in the development of a strong, foundational understanding of playing technique in
your students.
2) Modeling: Two important tenets when teaching instrument techniques are 1) break all tasks
of instrument manipulation into a sequence of small steps, and 2) model each task whenever
possible rather than verbalizing. -Schleuter
3) Supplemental Information:
1) Emphasize the foundational understanding of each instrument by having students
assemble and disassemble the instruments as much as possible in the first few days of
class. A few good ways to help students memorize the instrument parts might be:
1) Repeating back the parts in unison while assembling or disassembling.
2) Teaching their instrument parts to a partner with another instrument.
3) Labeling the parts on diagram. Provide students with a diagram to keep for
reference.
2) Brass need to buzz as much as possible before playing on their instruments. In any extra
time you have with your brass players, have them echo back pitches, echo pop tunes, or
any tonal pattern. In any extra time with percussionists, have them play a steady beat
while brass players buzz or woodwinds make initial sounds. Try to use instrument
sections at all times to avoid boredom and havoc in your classroom.
 Page 3

Table of Contents

Preface and Instructional Suggestions2

Table of Contents3
Instrument Specific Pre-assembly Instructions &
Posture and Breathing Steps...4
Instrument Assembly: Woodwinds &
Instrument Assembly: Percussion...5
Create the Buzz: Brass
Instrument Assembly: Percussion...6
Instrument Assembly: Woodwinds
Matched Grip: Percussion...7
Buzz on the Mouthpiece: Brass
Matched Grip: Percussion...8
Instrument Assembly: Woodwinds
Stick Position (Playing Position): Percussion9
Buzz on the Mouthpiece: Brass
Stick Position (Playing Position): Percussion..10
Hand Position: Woodwinds
Stroke: Percussion11
Hand Position: Brass
Stroke: Percussion12
Hand Position: Woodwinds
Instrument Disassembly: Percussion...13
Hand Position: Brass
Instrument Disassembly: Percussion....14
Hand Position: Woodwinds..15
Instrument Assembly: Brass.16
Woodwinds: Embouchure.17
Instrument Assembly: Brass.18
Woodwinds: Embouchure.19
Instrument Disassembly: Brass 20
Woodwinds: Embouchure.21
Instrument Disassembly: Brass....22
Instrument Disassembly: Woodwinds.23-24
Instrument Care Lists..25-29
Sources..30
 Page 4

Instrument Specific Pre-Assembly Instructions

I. Oboe and Bassoon Reeds:
1. Soak the reed in about 1/2 inch of water in a small container (orange medicine container,
plastic shot glass, or dixie cup).
2. Tip should be pliable. Be careful not to over-soak.
3. Soak reed for 2-3 minutes, only soaking the cane, NOT the thread or cork.
4. Apply grease to corks as needed. A good time for cork grease is when the cork feels dry
and joints are more difficult to put together.
5. Optional for Bassoon: For standing or to relieve pressure from wrists, a neck strap or
harness can be used and secured on the ring hook on the top of the boot joint between the
wing and long joint.

II. Bassoon Posture:

1. Seat strap should be positioned towards the front of the chair and should be underneath
the middle of the thighs.
2. Sit toward the back of the chair but allow room for breathing and sit with good posture.
3. Elbows away from the back of the chair to avoid bent wrists.
4. Forearms should be close to straight, yet relaxed with the wrists and hands.
5. Adjust seat strap so the reed touches the lower lip without adjusting head position.

III. Clarinet and Saxophone:

1. Place neck strap around neck (if applicable)
2. Put the thin end of your reed in your mouth to moisten it.
3. Apply a thin coat of cork grease to each cork if needed.
4. Occasionally wipe off old cork grease to prevent build up.
5. Clean hands of cork grease.

Posture Checklist
1. Sit up straight on the edge of the chair.
2. Place feet securely on the floor, shoulder width apart.
3. Sit tall with chin held up facing the music stand.
4. Shoulders relaxed.
5. Elbows away from the back of the chair.

Breathing Checklist
1. Sit with correct posture.
2. Form do or oh with the mouth.
3. Using the lowest part of the diaphragm, take in as much air as possible in a full breath.
4. Imagine the air dropping into the lungs.
5. The lower stomach should visibly expand slightly.
6. Shoulders should not move.
7. Release a steady, even stream of air on shh.
8. Shh until all air is released.
 Page 5

Instrument Assembly
1. Lay case flat on the floor.
2. Open case with the logo facing up.
Woodwinds Step 1 Step 2 Step 3
Flute Pick up the head joint Pick up the body/middle Align tone hole on the
(joint with joint (largest joint). head joint with the keys
embouchure hole). on the body/middle joint.

Oboe Pick up the bell and Align the bell key lever Place up the lower
the lower joint. and gently twist on the section in your right
bell. hand, holding it away
from the keys, and the
upper section in your left
hand.

Bassoon Hold the boot joint Without touching the
(lowest joint) in your pipes, put the wing joint
right hand away from into the smaller hole in the
the keys. boot joint with the left
hand. Align the inside
curve with the hole for the
long joint.
Hold the combined boot
and wing joint with the
right hand. Using the left
hand, attach the long joint
to the boot joint. Align
the left hand thumb keys.

Clarinet Gently twist the bell Hold the upper joint in the With the middle finger,
onto the lower joint. left hand away from the press down the middle
Hold joint around the keys. tone hole ring to lift open
bulk of the keys, not the bridge key. Hold the
around the thinner lower joint in the right
pieces. hand away from the keys.

Saxophone Pick up the body of While holding the Loosen the neck screw
the saxophone. Attach saxophone steady with one with the free hand.
the neck strap hook to hand, remove the end plug
the strap ring on the with the other and set the
instrument. plug down.

Instrument Assembly
Percussion Step 1
Drum Pad/ Pick up the tripod base
Bell Set and open the legs of the
tripod. Tighten the wing
screw to secure the legs.
Step 2
Open the arms of the top
basket and tighten the
adjustment knob to secure
the basket.
Step 3
Insert the top part (with
basket) into the tripod
base and secure both
parts.
 Page 6

Embouchure: Create the Buzz

Brass Step 1 Step 2 Step 3
All Shape the inside of Bring lips together as if Keep corners firm, center of
the mouth as if saying saying em. lips relaxed, and chin flat.
oh.

Brass Step 4 Step 5 Step 6

All Keep the space Take a deep breath and Keep the space between
between the top and blow a focused stream of your top and bottom teeth
bottom teeth open. air through the center of the open. Do not clench.
lips to create a buzz while
thinking poo or toe to
create a buzz.

Percussion Step 4 Step 5 Step 6

Drum Pad/ Gently place the drum Tighten the basket Adjust the height of the
Bell Set pad/bell set into the adjustment knob so the drum pad/bell set so it
basket with the snare drum pad/bell set is is level and positioned
release mechanism facing securely held by the arms at or slightly below the
the stomach and the of the basket. Be sure the belly button.
snares facing the floor. snare/drum pad does not
move or wiggle around in
the basket.
 Page 7

Woodwinds Step 4 Step 5 Step 6

Flute Gently twist the Pick up the foot joint Align the rod on the foot joint
head joint and the (smallest joint, last few with the center of the keys on the
body/middle joint keys) with the other body/middle joint.
together. hand.

Oboe Keep the ridge Gently twist the reed Adjust the reed to playing
keys raised, align into the reed socket as position. (Often, the side of the
the bridge keys, far as it will go. (Use reed where the thread is tucked in
and gently twist small amount of cork will face the ground).
the two sections grease as needed).
together.

Bassoon Use the locking Holding the instrument Pick up the bocal at the bottom
mechanism to with your left hand, (where it will go into the
secure the long grasp the bell with the instrument) and gently twist into
joint to the wing right hand and depress the top of the wing joint, aligning
joint if your the key with your the hole in bocal button with the
instrument has thumb. Gently push the whisper key pad. Hold the bocal
one. bell into place and at the curve so it does not bend.
align the levers. Do NOT grab the wing joint by
the whisper key.

Clarinet Align the bridge Gently twist the barrel Remove the ligature from the
keys on both onto the end of the mouthpiece and set in case. Then
joints and gently upper joint. twist the mouthpiece into the
twist the upper barrel. The mouthpiece opening
joint into the should line up with the register
lower joint. key.

Saxophone Gently twist the Twist the mouthpiece Remove the reed from soaking
neck into the body onto the neck leaving in the mouth and place it over the
avoiding contact about half of the cork open hole on the mouthpiece.
with the octave exposed. The flat side Line it up appropriately and be
key. Tighten the of the mouthpiece sure to see a hairline of the
neck screw. should be towards the mouthpiece above the reed tip.
ground.

Matched Grip
Percussion Step 1 Step 2
Drum Pad/ Bell Set Grip the stick/mallet about 1/3 of The fulcrum should be between
the total length from the end the pad of the thumb and the first
between the thumb and the first knuckle of the index finger.
finger.
 Page 8

Buzz on the Mouthpiece

1. Lay case flat on the floor.
2. Open case with the logo facing up.
Brass Step 1 Step 2 Step 3
All Pick up the Trumpet: Ease and comfort
mouthpiece with Place the mouthpiece on the center of the are the top
the non dominant mouth with equal amounts of the mouthpiece priorities. Do not
hand. on the upper and lower lips. Then move it rely on pressure to
slightly to wherever is most comfortable. make sound.

Horn:
Place the mouthpiece so it is about 2/3 on the
upper lip and 1/3 on the lower lip. (This can
vary slightly dependent on the comfort of the
player).

Trombone:
Place the mouthpiece in the center of the
mouth with slightly more upper lip than
lower lip, but equal pressure from all sides.

Baritone and Tuba:

Place the mouthpiece in the center of the
mouth with equal amounts of the mouthpiece
on the upper and lower lips. Then move it
slightly to wherever is most comfortable.

Percussion Step 3 Step 4 Step 5

Drum Pad/ Bell The thumb should stay in Palms should face The grip is the
Set line with the stick/mallet down and the stick/ same with both
while the remaining fingers mallet should be hands.
wrap gently around the stick/ parallel to the drum
mallet. head/bell set.
 Page 9

Woodwinds Step 7 Step 8 Step 9

Flute Gently twist the two
joints together.

Bassoon Optional step: Attach Connect seat strap to Take reed from soaker
hand rest and tighten boot joint. Cup straps cup, remove excess
screw. will completely cover moisture and place on
the bottom of the boot. bocal.
Hooks and clips will
attach to the ring
attachment closest to
the player.

Clarinet Remove the reed from Adjust as necessary. Tighten the screws on
mouth and place it over Then secure it to the the ligature only until
the open hole on the mouthpiece using the snug. Over-tightening
mouthpiece. Line it up ligature. can damage the ligature
over the hole and be sure and result in poor tone.
to see a hairline of the
mouthpiece above the
reed tip.

Saxophone Adjust as necessary. Tighten the screws on

Then secure it to the the ligature only until
mouthpiece using the snug. Over-tightening
ligature. (Screws will can damage the
always be on the right). ligature.

Stick Position (Playing Position)

Percussion Step 1 Step 2
Drum Pad/Snare Stick beads should be very Stick beads rest about 2 inches
close to touching, but should above the center of the drum head/
not touch. practice pad.

Bell Set/Keyboard Mallet heads should be very Mallets rest about 2 inches above
close to touching, but should the center of the keys.
not touch.
 Page 10

Brass Step 4 Step 5 Step 6

All Trumpet: All but horn: Take a deep
Begin buzzing without the mouthpiece Put the mouthpiece on the breath and
and slowly place mouthpiece over the lead pipe. play a long
buzz with equal amounts of the steady tone.
mouthpiece on the upper and lower lips. Horn:
Put the mouthpiece on the
Horn: lead pipe with lead pipe
Begin buzzing without the mouthpiece about 10 degrees lower
and slowly place the mouthpiece in the than parallel but not more
center of the buzz using the 2/3 upper than that because it will
1/3 lower placement. cause problems.

Trombone:
Begin buzzing without the mouthpiece
and slowly place mouthpiece over the
buzz with the slightly more upper lip
than lower lip placement but equal
pressure on all sides.

Baritone and Tuba:

Begin buzzing without the mouthpiece
and slowly place mouthpiece over the
buzz with equal amounts of the
mouthpiece on the upper and lower lips
in the same placement used in step 2.

Percussion Step 3 Step 4

Drum Pad/Snare Sticks should create anywhere Striking area is slightly above the
between a 60 and 90 degree center of the head within a circle
angle (think of a pizza slice). the size of a quarter.

Bell Set/Keyboard Mallets should create anywhere Striking area is in the center of
between a 60 and 90 degree each key.
angle (think of a pizza slice).
 Page 11

Hand Position
Woodwinds Step 1 Step 2 Step 3
Flute All: Shake left hand Make a C with the left Place left thumb on the
out and hold it with a hand to form a shelf with long straight key on the
natural curve in the your thumb. Rest the underside of the flute to
fingers. flute on that shelf. control B and Bb keys.

Oboe See above. Apply right Place right thumb under Shake left hand out and
hand. the thumb rest. hold it with a natural curve
in the fingers.

Bassoon See above. Apply left The bassoon should rest Position the left thumb to
hand. against the base of the rest lightly on the whisper
left index finger. key.

Clarinet See above. Apply right Place right thumb under The thumb rest should fall
hand. the thumb rest with the between the nail and the
cuticle line in the middle first knuckle, whatever is
of the thumb rest. most comfortable.

Saxophone See above. Apply left Left thumb will sit on the Shake right hand out and
hand. plastic thumb rest. hold it with a natural curve
in the fingers.

Stroke
Percussion Step 1 Step 2
Drum Pad/Snare Place the sticks In one motion, using the wrist, raise the tip of the
in playing stick 8-10 inches above the head of the drum, and
position. allow the stick to bounce off the head while using
wrist to bring the stick back to the up position.

Bell Set/Keyboard Place the mallets In one motion, using the wrist, raise the mallet
in playing 8-10 inches above the keys, drop the mallet and
position. allow the mallet to rebound from the key while
using wrist to bring it back to the up position.
 Page 12

Hand Position
Brass Step 1 Step 2 Step 3
Trumpet Grip the valve casing Wrap the left thumb Place the left hand ring finger
with the left hand like a around the first (or middle finger if it is more
handshake. valve casing while comfortable for the student) in
other fingers wrap the 3rd valve slide ring.
around the third
valve casing.

Horn Place the left hand Place left hand Rest the outside edge of the bell
thumb on the thumb pinky in the finger on the thigh. (Can also be lifted
valve (or the thumb ring hook. Left hand slightly off the leg for taller
if it is a single horn). middle fingers sit students or for a more vibrant
naturally curved on tone).
valve levers.

Trombone Place the left thumb Remaining fingers Right hand holds the bottom of
around the bell brace on the left hand the slide brace with the thumb,
while the left index wrap around the first index, and middle fingers gently.
finger sits on the slide brace.
mouthpiece receiver.

Baritone Left arm nestles front of Left hand grips the Right thumb sits inside the
the baritone so the bell third valve slide (or thumb ring (or between the first
is up to the right of the the area of piping and second valves if no thumb
head. between the final ring).
crook and the bell).

Tuba Left arm nestles in front See baritone Right thumb sits inside the
of the tuba. instruction. thumb ring if thumb ring is
present and reachable. (This may
vary from player to player).

Percussion Step 3 Step 4

Drum Pad/Snare Repeat process with While one hand is playing, the other hand
left stick. stays in playing position.

Bell Set/Keyboard Repeat process with While one hand is playing, the other hand
left mallet. stays in playing position.
 Page 13

Woodwinds Step 4 Step 5 Step 6

Flute Place left index Shake right hand out and Place right thumb on the
finger on the top of hold it with a natural underside of the flute beneath
the flute above the curve in the fingers. the first and second fingers.
thumb to balance
the flute.

Oboe Place left thumb on Pads of fingers should be Keep wrists straight.
octave key. hovering above the keys.

Bassoon Left hand fingers Shake right hand out and Right hand thumb rests
should rest hold it with a natural lightly on the Bb key.
comfortably on the curve in the fingers.
appropriate tone
holes and the pinky
should rest on the
low Eb key.

Clarinet Balance weight of Shake left hand out and Place left thumb on the
the instrument on allow fingers to curve thumb key on the top joint.
right thumb rest. naturally while the pads
of the fingertips hover
above each hole.

Saxophone Right thumb is Position the saxophone at
placed under the the center of the body. (If
thumb hook. too short, may move to
the right side of the body
until they grow.) Be sure
to keep sitting up straight.
Adjust the neck strap and the
neck so the reed touches the
lower lip without sacrificing
posture to reach the reed.
The neck strap should
support the weight of the
saxophone.

Instrument Disassembly
Percussion Step 1 Step 2 Step 3
Drum Pad/ After playing, carefully Loosen the adjustment Remove the top part
Bell Set remove the drum pad/ knob on the basket, close (with basket) and gently
bell set and place in the the basket, and re-tighten place in the case.
case. the adjustment knob.

Brass Step 4
Trumpet Right thumb rests under the lead
pipe between the 1st and 2nd
valve casing. Right hand fingers
are curved naturally as if
holding a can of soda or a tennis
ball. Right pinky should sit ON
not IN the ring.
Horn Cup the right hand with fingers
and thumb tightly closed (like
when swimming).
Trombone The right ring finger and pinky
should be relaxed and
positioned underneath the slide.
Baritone Right hand fingertips rest on
valve buttons and curve
naturally and comfortably as if
holding a can of soda.
Tuba See baritone instruction.
Percussion Step 4
Drum Pad/Bell Loosen wing screw, close the legs of
Set the tripod, re-tighten wing screw, and
gently place in case.
Page 14
Step 5 Step 6
Keep wrists straight It is ok to tilt the
and elbows away instrument slightly to
from the body at a the right for playing
comfortable angle. position if it is more
comfortable for the
student.
Place hand in the bell Arms should be relaxed
so the fingers and and elbows should be
thumb rest against the comfortably away from
far side of the bell the body.
opening.
While the left hand Elbows comfortably
supports the away from your sides
trombone, the relaxed and the back of the
right hand moves the chair.
slide.
Elbows comfortably If helpful, baritone may
away from your sides rest on a small rolled
and the back of the towel or pillow. Be sure
chair. to bring the instrument
to the face when
playing.
See baritone Keep your right wrist
instruction. straight.
Step 5
Securely close the case.
 Page 15

Woodwinds Step 7 Step 8 Step 9

Flute Place right index Pads of fingers should Elbows should be away from
finger on the F key. be on the center of the body. Flute should be
each key. Curve parallel with floor (or slightly
fingers on both hands. downward, but too much of a
downward angle can lead to
playing flat).

Oboe Elbows away from the Instrument should be If you are using a neck strap,
back of the chair and held at about a 45 it will attach to the thumb rest
out from the body at a degree angle from the and should bring the
comfortable angle. body. instrument to a good height
for playing.

Bassoon Right hand fingers 1 2 Curve the fingers on Maintain a loose but secure
and 3 are poised to both hands, keep grip of the instrument.
cover the front side wrists straight, and Tension in the hand position
keys and tone holes. elbows away from the will cause injury.
Finger 3 should be body for a comfortable
over the G key. Right playing position.
hand pinky rests on
low F key.

Clarinet Elbows should be Instrument should be

kept away from the about 30 degrees out
body at a comfortable from the body.
angle.

Saxophone Neck strap supports Fingers should be Elbows should be

the weight of the curved naturally while comfortably away from both
instrument, not the keeping wrists straight sides of the body. Do not rest
thumb. as if holding a tennis wrist on thigh.
ball.
 Page 16

Instrument Assembly
Brass Step 1 Step 2 Step 3
Trumpet Carefully pick up Hold the instrument in the Pick up the mouthpiece and
the instrument by left hand. gently but firmly twist it into
the valve casings. the receiver pipe.

Horn Carefully pick up The left hand will hold the Rest the bell of the horn on the
the instrument horn with the pinky in the right leg. Do not block the bell
with both hands. finger hook and the thumb with the body.
in the thumb ring.

Trombone Lock the slide Pick up the slide with your Pick up the bell section with
using the slide right hand. Hold the slide your left hand. Point the bell
lock ring. by the braces with the U to the floor with the receiver to
section of the slide facing the right.
down.

Baritone See horn. See trumpet. See trumpet.

Tuba See horn. Pick up the mouthpiece and Sit up straight towards the
gently twist it into the back of the chair to allow
receiver pipe. room for breathing.
 Page 17

Embouchure
*Note: Embouchure will NEVER change. Air speed is what changes.
Woodwinds Step 1 Step 2 Step 3
Flute Remove Shape mouth as if Option 1)
head joint. saying whee-too -Place embouchure hole of flute on the lip
or as you might opening created by whee-too
blow air through a embouchure.
straw. -Roll head joint forward and down on the
lips while maintaining the whee-too
embouchure.
Option 2)
-Place embouchure hole parallel to the
ground and place it underneath the lower
lip.
-Think right under the lips and visible. The
tone hold should be visible.

Oboe Remove the Place the tip of the Close lips naturally with the upper and
reed from the reed on the center lower lip over the teeth, rolling the reed
instrument. of the lower lip. inward.

Bassoon See oboe. Shape mouth as if Reed should be placed on the center of the
saying whee- lower lip. Roll the lips over the teeth and
too, trying to close them in a drawstring fashion with
whistle a very low equal pressure on all sides of the reed.
note, or as though
you have hot food
in your mouth.

Clarinet Remove Shape mouth as if Put about 1/4 or 1/2 inch of the mouthpiece
mouthpiece saying whee-too in the mouth, keeping the whee-too or
and barrel. or ew. ew formation.

Saxophone Remove the Position the lips as Mouth should close at the fulcrum which is
mouthpiece. if saying oh. where the reed begins to leave the
mouthpiece.
 Page 18

Brass Step 4 Step 5 Step 6

Horn Pick up the Knees must be open and pointed
mouthpiece and slightly to the right.
gently twist it into the
receiver pipe.

Trombone Put the longer side of Fasten them together so that the Pick up the
the slide section into slide is at a 90 degree angle to the mouthpiece and
the bell receiver. bell section. (If student cannot gently twist it into
reach 90 degrees, its ok to have a the receiver pipe.
smaller angle.) Tighten the
connector nut to hold these parts
together.

Woodwinds Step 4
Flute Head joint should
maintain contact with
bottom lip so air passes
across the embouchure
hole.
Oboe About 1/8 inch of the reed
should be past the lips and
in the mouth.
Bassoon There should be a slight
overbite on the reed, but
do not bite the reed. Keep
space between the teeth
and relax the lips.
Clarinet Set top teeth on the
mouthpiece and then cover
with upper lip. Cover
bottom teeth with a small
part of the lower lip.
Saxophone Set top teeth on the
mouthpiece. Cover bottom
teeth with a small part of
the lower lip.
Page 19
Step 5 Step 6
Corners of the bottom Cover 1/4 to 1/3 of the
lip should rest agains embouchure hole with
the embouchure plate. the lower lip.
Lips close in a Mouth should be
drawstring fashion with relaxed and throat
equal pressure on all open. Never have lips
sides of the reed. curled up. No
smiling.
Loose, even pressure Lips should take in
should form around the about 3/4 of the reed
reed. Keep the corners and should nearly
of the lips forward (no touch the first wire of
smiling). the reed.
Chin should be flat and Corners should be in
pointed downward to and mouth closed
set up oral cavity around the mouthpiece
(forms EE-OO sound). in a drawstring fashion.
Chin should be flat and Mouth is closed around
pointed downward. the mouthpiece in a
Avoid frowning or drawstring fashion as if
puffed out cheeks. saying oo.
 Page 20

Instrument Disassembly
Brass Step 1 Step 2 Step 3
Trumpet After playing, depress the Wipe off fingerprints with Remove the mouthpiece
water key and drain a soft cloth. and put it and the
excess water from the instrument carefully in
instrument. the case.

Horn See above. See above. Drain moisture in the

instrument by rotating the
horn so moisture flows
out the mouthpiece
receiver.

Trombone See above. See above. Remove the mouthpiece

and put it in the case.

Baritone See above. See above. See trumpet.

and Tuba

Woodwinds Step 7
Flute Take a full breath of air and
blow over the hole on doo
to play a steady tone (like
blowing over a pop bottle or
blowing out birthday
candles).
Oboe Think of what it feels like to Take a deep breath and
drink a thick shake through play a long, steady tone.
a straw and try to form the
embouchure that way.
Bassoon Take a deep breath of air
and play a long steady tone.
Feel as though you are
saying ah.
Clarinet There should be equal
pressure around all sides of
the reed.
Saxophone There should be equal
pressure around all sides of
the reed.
Page 21
Step 8 Step 9
Add head joint to the Be sure the head and
body and play another chin do not move.
long, steady tone on
doooo.
Put the reed back
into the instrument
and play another
long, steady tone.
Place tip of tongue on tip Place the reed back
of the reed. Apply onto the instrument
pressure with air and and play another
release tongue to release long, steady tone.
a stream of air through
the instrument.
Take a full breath and Put the mouthpiece
play a long, steady tone. and barrel onto the
Be sure the face is clarinet and play a
relaxed and think of an long, steady tone.
O shaped throat.
Take a full breath and Put the mouthpiece
play a long, steady tone. onto the saxophone
Be sure the face is and play a long,
relaxed and think an O steady tone.
shaped throat.
 Page 22

Brass Step 4 Step 5 Step 6

Trumpet Oil valves only when Securely close the case and
needed. latch it.

Horn See above. Remove the mouthpiece Securely close the

and put it and the case and latch it.
instrument carefully in the
case.

Trombone Unfasten the slide section
from the bell section and
gently place the bell section
into the cast. Do not forget
to lock the tuning slide.
Gently place the slide See above.
section into the case and
latch the slide into the case
so it will not fall when the
case closes.

Baritone Securely close the case and

and Tuba latch it.
 Page 23

Instrument Disassembly
Woodwinds Step 1 Step 2 Step 3
Flute Dry the inside of the Shake any water out Wipe the joints clean.
flute with a cloth over of the head joint.
a cleaning rod .

Oboe Gently remove the Wipe away Carefully swab and dry out all
reed, blow out excess moisture and joints of the instrument.
water, and be sure the fingerprints from
reed is dry before the outside of the
putting it back in the instrument with a
reed holder (to avoid soft cloth.
mold and mildew).

Bassoon Remove the reed and Shake and blow Swab the boot joint by putting
blow out the excess excess water out of the swab in the slot where the
water. Place it in reed the bocal before long joint attaches, turning the
holder to dry. storing it. Use bocal boot upside down towards the
swab if available. wing joint slot, and removing
the swab. Use the correct
swab which has a metal ball at
the end of it.

Clarinet Remove reed, wipe off Wipe inside of Swab out all sections. Start
moisture, place into mouthpiece with a with barrel, then upper joint,
reed guard. soft cloth. then lower joint, then the bell.

Saxophone Remove reed, wipe off Wipe inside of Swab out the neck.
moisture, place into mouthpiece with a
reed guard. soft cloth.

Woodwinds Step 4
Flute Wipe the outside of the
flute with a soft, clean
cloth.
Oboe Do not use cleaning
brushes as they can harm
the instrument.
Bassoon Swab the wing joint by
starting the swab at the
boot end of the joint. Be
sure to use the correct swab
which will have a long rod
on the end of it.
Clarinet Wipe away moisture and
fingerprints on the outside
of the clarinet with a soft
cloth.
Saxophone Swab out the body by
dropping weight into bell
and pulling through.
Page 24
Step 5 Step 6
Carefully put away all
parts of the flute and
close the latch.
It is suggested to use a Carefully put away all
silk swab. parts and securely latch
the case.
Dry each joint and See oboe.
wipe the outside of the
bassoon with a soft
cloth.
Carefully put away all
parts of the clarinet in
the right place with
keys facing up and
securely latch the case.
Wipe away moisture Carefully put away all
on the neck and body parts of the saxophone
near the point they (dont forget the end
connect. plug!) and securely
latch the case.
 Page 25

Instrument Care

Flute
-The safest place for your instrument is in the case.
-Keep checking for loose pads, rods, and springs.
-Take your flute in to a music store once a year for a check up.
-Never submerge your flute in water.
-Never apply polishes or cleaners.
-Never adjust or oil your keys.
-Never place your flute on the shelf of a music stand.
-Never leave your flute on your chair or on the floor unattended.

Oboe
-The safest place for your instrument is in the case.
-Grease tenon corks and wipe away old cork grease as needed.
-Keep checking for loose pads, rods, springs, missing corks and cracks.
-Take in your instrument once a year to a music store for a check up.
-Never submerge your oboe in water.
-Never apply cleaners or polishes to your oboe.
-Never adjust or oil your oboe keys - leave this for a repair shop or teacher.
-Never leave your instrument unattended or in the car.

Bassoon
-The safest place for your instrument is in the case.
-Be sure to always blow out excess moisture from the reed and bocal.
-Be sure to always swab out the joints when you are finished playing.
-Be sure to wipe away fingerprints and moisture from tenon openings with a soft cloth.
-Once in awhile, clean the bocal with a bocal brush, soap and warm water but be very careful not
to damage the bocal.
-For bassoons with tenon corks, apply a thin coat of cork grease to tenon corks every two weeks.
Wipe off old cork grease periodically to prevent build up. Vaseline can work as well but will need
applied more often than cork grease.
-For bassoons with thread wrapped tenons, rub a softened cake of canning wax onto the threads
monthly. Never use cork grease for thread wrapped tenons.
-Yearly, take your bassoon in to a music store for a check up.
-Never submerge your bassoon in water.
-Never apply polishes or cleaners to your bassoon, though polishing cloths can be used for
lacquer and silver.
-Never adjust or oil your keys, bring it to the shop for this kind of repairing.
-Never leave your instrument unattended.
-Never expose your instrument to extreme temperatures.
-Be sure students have at least 4-5 reeds and are rotating them. Be sure to throw away if mold
spots appear.
 Page 26

Clarinet
-The safest place for your instrument is in the case.
-Weekly wash and rinse mouthpiece in warm, not hot, water keeping the cork from getting wet.
Use drop of dish soap if needed with a toothbrush or paper towel.
-Keep checking for loose pads, rods, and springs and screws that need to be tightened.
-Take your clarinet in to a music store once a year for a check up.
-Never submerge your clarinet in water. If it gets wet, wipe the liquid off and leave case open
overnight to air it out.
-Never apply polishes or cleaners.
-Never adjust or oil your keys (except key oil for certain keys that can be used with the help of
your teacher or bore oil on wood clarinets every few months).
-Never expose your clarinet to extreme temperatures.
-Never bring a wood clarinet outside. The wood will crack and it will not play well again.
-Never leave your clarinet on your chair or on the floor unattended.
-Be sure to have a minimum of 3 reeds ready to play at a time. Do not play on a reed for more
than 2 months maximum.

Saxophone
-The safest place for your instrument is in the case.
-Weekly wash and rinse mouthpiece in lukewarm water. Use drop of dish soap if needed.
-Keep checking for loose pads and rods.
-Take your saxophone in to a music store once a year for a check up.
-Never submerge your saxophone in water.
-Never apply polishes or cleaners.
-Never adjust or oil your keys.
-Never expose your saxophone to extreme temperatures.
-Never leave your saxophone on your chair or on the floor unattended.
-Blow out keys as necessary:
1) Press all 3 palm keys and blow beneath the keys/pads.
2) Take off the neck with mouthpiece attached, put it on your hand so that the joint of it is
firmly pressed on your palm, open the octave key, and blow through.

Trumpet
-The safest place for your instrument is in the case.
-Clean the mouthpiece periodically with a mouthpiece brush, lukewarm water, and a drop of
liquid soap.
-As needed, wipe slides clean and use slide grease to lubricate (sparingly).
-Every year, take your instrument in to a music store for a chemical bath and a check up.
-Never apply cleaners or polishes. Silver horns need to be polished with a a polish cloth twice a
year or so to prevent tarnishing.
-Never try to remove stuck valves, frozen slides, or a stuck mouthpiece without the help of your
teacher.
-Avoid over lubricating valves and slides.
-Never leave your instrument unattended.
 Page 27

-Oiling: to oil valves, depress the second valve and pull out the second valve slide. Place 5 or 6
drops of oil into the tubes. Keeping the valve depressed, replace the slide and work the valve up
and down. Repeat process for all valves.

Horn
-The safest place for your instrument is in the case.
-Clean the mouthpiece periodically with a mouthpiece brush, lukewarm water, and a drop of
liquid soap.
-As needed, wipe slides clean and use slide grease to lubricate (sparingly).
-Every year, take your instrument in to a music store for a chemical bath and a check up.
-Never apply cleaners or polishes. Silver horns need to be polished with a a polish cloth twice a
year or so to prevent tarnishing.
-Never try to remove stuck valves, frozen slides, or a stuck mouthpiece without the help of your
teacher.
-Avoid over lubricating valves and slides.
-Never leave your instrument unattended.
-Oiling: to oil valves, unscrew the valve caps and add a drop or two of oil. Replace the valve
caps and work the keys up and down to distribute the oil. Turn the horn over and put a drop or
two in the underside of the valve into the seam where the axle and its bearing meet. Work the
keys up and down to distribute the oil.

Trombone
-The safest place for your instrument is in the case.
-Clean the mouthpiece periodically with a mouthpiece brush, lukewarm water, and a drop of
liquid soap. Rinse thoroughly.
-As needed, wipe slides clean and use slide oil to lubricate (sparingly).
-Every year, take your instrument in to a music store for a chemical bath and a check up.
-Never apply cleaners or polishes. Silver horns need to be polished with a a polish cloth twice a
year or so to prevent tarnishing.
-Never try to remove stuck valves, frozen slides, or a stuck mouthpiece without the help of your
teacher.
-Never leave your instrument unattended.
-Oiling: To oil valves, rest the tip of the slide on the floor. Unlock the slide and lift the inner slide.
Place 5-6 drops of slide oil on the top of each slide and let it run down the slide. Move the slide
up and down to distribute the oil.

Baritone
-The safest place for your instrument is in the case.
-Clean the mouthpiece periodically with a mouthpiece brush, lukewarm water, and a drop of
liquid soap.
-As needed, oil valves.
-As needed, wipe slides clean and use slide grease to lubricate (sparingly).
-Every year, take your instrument in to a music store for a chemical bath and a check up.
-Never apply cleaners or polishes. Silver horns need to be polished with a a polish cloth twice a
year or so to prevent tarnishing.
 Page 28

-Never try to remove stuck valves, frozen slides, or a stuck mouthpiece without the help of your
teacher.
-Avoid over lubricating valves and slides.
-Never leave your instrument unattended.
-To oil valves, unscrew cap and use a microfiber cloth or non-stringy paper towel to remove old
lubricant (especially if changing brands/types). Place 5-6 drops of valve oil on the valve.
Replace the valve and spin in valve casing to spread the oil around. By spinning the valve in the
casing, the valve guide will click into the proper position. Try slowly depressing the valve a few
times to make sure that it is properly oiled. Once satisfied, re-screw the valve cap. Repeat for all
valves.
-To grease slides, depress the first valve with one finger and pull out the first valve slide with the
other hand. Use a microfiber cloth or non-stringy paper towel to remove old lubricant
(especially if changing brands/types). Place a small dap of grease on both prong ends of the
slide. Spread the grease around the circumference of the slide with a finger. Place one slide
prong end all the way back into the horn, spinning and twisting the end to get the grease all over
the entire length of the slide. Repeat for other slide prong end. With the first valve slide
depressed, push the slide back into the horn to the proper position. Repeat for all slides. Make
sure to depress the correct valve for each slide.

Tuba
-The safest place for your instrument is in the case.
-Clean the mouthpiece periodically with a mouthpiece brush, lukewarm water, and a drop of
liquid soap.
-As needed, oil valves.
-As needed, wipe slides clean and use slide grease to lubricate (sparingly).
-Every year, take your instrument in to a music store for a chemical bath and a check up.
-Never apply cleaners or polishes. Silver horns need to be polished with a a polish cloth twice a
year or so to prevent tarnishing.
-Never try to remove stuck valves, frozen slides, or a stuck mouthpiece without the help of your
teacher.
-Avoid over lubricating valves and slides.
-Never leave your instrument unattended.
-Optional: To oil valves, depress the first valve and pull out the first valve slide. Place 5-6 drops
of oil onto the pistons directly. Keeping the valve depressed, replace the slide and work the valve
up and down. Repeat with all valves. For rotors, twist off the caps and put 3-4 drops of oil onto
the spindle and put the cap back on. To oil slides, apply slide grease directly to the outside of the
inner tube.

Snare
-The safest place for your instrument is in the case.
-Check that the screws and knobs are tightened and secure so they do not fall out and get lost.
-Be sure the basket is fully collapsed and safely put away to avoid scratching the metal and
damaging your instrument.
-Avoid placing any objects on your drum pad/snare in any circumstance.
-Try to keep your instrument inside to avoid varying temperatures and damage.
 Page 29

Mallets
-The safest place for your instrument is in the case.
-Check that the screws and knobs are tightened and secure so they do not fall out and get lost.
-Be sure the basket is fully collapsed and safely put away to avoid scratching the metal and
damaging your instrument.
-Avoid placing any objects on your bell set in any circumstance.
-Try to keep your instrument inside to avoid varying temperatures and damage.
 Page 30

Bibliography:

Allen, Michael, Robert Gillespie, Pamela Tellejohn Hayes, and John Higgins. Essential Elements
2000 for Strings. a Comprehensive String Method. N.p.: n.p., n.d. Print.

Bailey, Wayne, Patrick Miles, Alan Siebert, William Stanley, and Thomas Stein. Teaching Brass:
A Resource Manual. Second ed. New York: McGraw-Hill, 2008, 1992. Print.

Cook, Gary. Teaching Percussion. Third ed. New York: Schirmer , Cengage Learning, 2006.
Print.

Cooper, Lynn G. Teaching Band & Orchestra: Methods and Materials. Chicago: GIA
Publications, 2004. Print.

Lautzenheiser, Tim. Essential Elements 2000 Comprehensive Band Method. Milwaukee, WI: Hal
Leonard, 1999. Print.

Pearson, Bruce. Standard of Excellence - Comprehensive Band Method. San Diego, CA: Kjos,
1993. Print.

Saucier, Gene A. Woodwinds: Fundamental Performance Techniques. New York: Schirmer,

1981. Print.

Schleuter, Stanley L. A Sound Approach to Teaching Instrumentalists: An Application of Content

and Learning Sequences. Edition 2. Kent, OH: Kent State UP, 1984. Print.