A problem I notice all too often at contests and festivals is the brass-heavy sound so many bands have. While the brightness of the trumpets and mellophones and the power of the low brass are essential to the traditional marching band sound, the woodwind family is so often neglected or unheard -- with the possible exception of the piccolo player or two whose sound pierces the ensemble (for better or worse). Here are some tips for each woodwind group that will hopefully aid the woodwind player or section coach; the warm reediness of a good clarinet and saxophone line complements the brass sound, and a good flute section can fill out by blending with the clarinet and trumpet parts while not sounding too shrill and harsh.

One general rule that applies to woodwind playing in general, as well as to brass instruments, is to keep the throat relaxed. Think of yawning (it'll most likely make you yawn, providing an example of what you want). While you're yawning, feel your throat. Try to keep that feeling while you play. (See my upcoming article on breathing to help your airstream).

TAlso, keep in mind that no one change in your playing habits will make all the difference in the world. If the suggestions in this article don't work right away, be patient -- give them time to work and become second-nature. They're intended to be simple enough to work for anybody, and each instrument uses a three-step system that is easy to understand. Additional comments have been inserted in some places to offer an explanation of why a step is part of the process, but it is not necessary to know why a muscle movement does what it does in order for it to work.

As an additional comment, it should go without saying that having quality instruments in good repair is essential. Woodwind instruments require much more attention than brasses do, due to their more complicated keywork, and having air leaks is detrimental not only to the instrument's sound but to the player's satisfaction as well -- band should be fun. Having an instrument that doesn't work, or that is out of adjustment, doesn't contribute to the enjoyment of band -- and can be quite frustrating as well.

Flutes and Piccolos

All too often the flute section goes unheard, or has too shrill a sound and sounds separate from the rest of the band. While a certain brightness is a basic characteristic of the flute's tone quality, so too should be a warm, even sound. Many flute players close off their embouchures too much and simply put a lot of air across the embouchure hole; this creates the thin, shrill sound we're all used to hearing. For a warmer, more centered tone, follow these three steps. It helps to watch yourself in the mirror the first several times until you get used to the feel of the embouchure.

1. Put the flute (or piccolo) up into normal playing position; to get a good idea of where the embouchure hole should be, place your lips directly over the hole and roll the flute downward into playing position -- but don't form your embouchure yet!
2. With your flute (or piccolo) in playing position, relax your mouth muscles and say the syllable "poo"; then, keep your mouth in that position. (it's quite helpful to watch yourself do this in the mirror several times)
3. Pull the corners of your mouth back slightly (the movement should be just noticeable if you look in the mirror while you do this). This simply redirects the airstream over the embouchure hole.

The principle here applies to piccolo as well, but the size of the opening will be slightly smaller and a faster airstream is needed. However, in both cases, avoid excess tension as much as possible.

After that, choose a stable fingering, like your low G. Then blow -- see if you notice a difference. It may not come out perfectly at first, but with time, you should be able to get a fatter, warmer sound out of your flute, and getting volume won't be much of a problem either.

Clarinet & Bass Clarinet

The clarinet section is often one of the largest in the band, and usually contains about 10% of the band's wind players. It also often has a small sound. These three steps should help you get a more centered, concentrated tone that's easier to control throughout the clarinet's register. It's helpful to look in a mirror the first several times you try this.

1. Whistle a medium-high note in your whistling range. If you can't whistle, that's fine -- just look at the shape somebody else makes and copy it as closely as possible.
2. From the whistling position, extend your chin; it should feel as though it's pointing down and forward somewhat, and the direction it points should be approximately parallel to your clarinet. This "extending" sets up the cushion of lip that the reed will rest on, and creates a better surface to control its sound. "Extending" only involves the chin muscles, but will also slightly alter the shape of your lower lip (it alters the upper lip a little too, but this is less noticeable). Your jaw and jaw muscles should stay where you put them during step 1. If you look in the mirror, you should notice that the skin between your chin and lower lip is flattened, and there will be either an angle or a slight curve.
3. Put the mouthpiece in your mouth as you normally would, and, maintaining the mouth position you have so far, tighten the opening of your mouth around it. Imagine a drawstring bag being pulled shut, or a camera lens closing. Be sure that no air leaks out from the sides, or you'll get a fuzzy sound and waste air.

Choose a stable note, like your low C. Now blow -- the sound should be smoother and more even. You may need to adjust the angle at which you hold the clarinet from your body. To do this, gradually change the angle of your clarinet up and down and find the spot where you get the fullest tone. In marching band, though, the look of a section should be as uniform as possible, so there may not be too much room to adjust this.

All of this applies equally well to the bass clarinet, except that the size of the aperture (mouth opening) will be somewhat larger, and that there will be even less room to adjust for the fullest tone. Additionally, a complement of a few bass clarinets playing with a good, full tone (say, 3 or 4 for a 100-piece band) should not be underestimated; while the individual sound may be lost among the group, the bass clarinet tone adds to the fullness of the bassline, as well as imparting a mellow, reedy quality that balances the brightness of the brass.

Saxophone Family

The saxophone section is, in a way, the glue that holds the band together; with alto, tenor, and baritone represented, the saxophones cover most of the band's usable range, and their sound helps blend the brass and woodwind tone while having a unique combination of characteristics from both families. Unfortunately, this role is a difficult one to fill, especially for a small or young section. Just follow these three steps to improve your sound and projection.

1. Whistle a low note in your whistling range. If you can't whistle, that's fine -- just look at the shape somebody else makes and copy it as closely as possible.
2. Roll your lower lip in a little -- don't do anything too drastic here. As with clarinet, this sets up a good cushion to rest the reed on, and will also make it easier to have the reed do what you want it to.
3. Put the mouthpiece in your mouth as you normally would, and, maintaining the mouth position you have so far, tighten the opening of your mouth around it. Imagine a drawstring bag being pulled shut, or a camera lens closing. Be sure that no air leaks out from the sides, or you'll get a fuzzy sound and waste air.

Choose a stable note, like your low G. Now blow -- the tone you get should be darker and more even. Again, of course, all of this applies to tenor and baritone as well as to alto, with the only difference being the size of your aperture.

I hope you find the tips and suggestions in this article helpful; I'd appreciate any kind of feedback you'd like to give. Good luck!