Page 12 - 2019 BMR April

Foundations for Good Practice Habits

playing, musicians should strive for this With strong fundamentals in technique, tone, and articulation, and a
same relaxed feeling, eliminating any pre- good mindset of slow, deliberate practice, young musicians will have the
conceived ideas about “how to breathe” foundation they need to learn the challenging music they play efficiently,
for their specific instrument; just breathe effectively, and with a good attitude. If they embrace these keys, they will
naturally. My favorite exercise for teaching surely find learning pieces—and subsequently performing them—that
support is to have students hold a sit- much more enjoyable!
up position half-way up and then play Happy practicing!
their instrument. This shows them which
Dr. Christina Guenther is Professor of Flute at Stephen F. Austin State University in
muscles are used in supporting the air; Nacogdoches, Texas where she has taught since 2005. In demand as a clinician and performer,
then they need to use those muscles in she has performed domestically as well as abroad in Australia, Germany, Bolivia, and Costa
Rica. She is the flutist for the Stone Fort Wind Quintet—the faculty quintet at SFA. An
the same way when they playing sitting or
enthusiastic proponent of new music, Guenther has commissioned and premiered many
standing. new works for flute by American composers. She holds degrees from the Florida State
University and Rutgers-the State University of New Jersey.
Articulation
A final fundamental key for band
instrumentalists is articulation. This is
going to vary from instrument to
instrument. Tongue placement in the
mouth (or “voicing”) for flute and
saxophone, for example, are very opposite.
It would be most helpful to find a specialist
on each instrument (or an article or other
resource written by a specialist) to learn
in detail what needs to happen inside
the mouth for each woodwind and brass
instrument. The primary goal in articulation
will be a clean start to each articulated
note. Additionally, for fast selections, the
ability to multiple-tongue (especially for
flute and brass players) is really important.
The pattern I use for double-tonguing
is: TK-TK (or DG-DG), and for triple-
tonguing: TKT-KTK (or DGD-GDG). I have
heard students say they can’t double tongue
and thirty seconds later, after telling them
how, they can do it at least at a basic level.
Then it is up to them to train their tongue
muscle in the same way they would their
fingers to develop a fast and steady double
(or triple) tongue.

Bandmasters Review • April 2019 10 Texas Bandmasters Association