Embouchre and Pitches for Woodwinds - Rolesville High School Band

Embouchure and Pitches for Woodwinds For Flute, Oboe, Bassoon, Clarinet, Bass Clarinet, Saxophone players.
You should be able to produce the following concert pitches with your mouthpiece/reed/headjoint only. Use a tuner to check your embouchure pitches. If you can do so, your embouchure is correct. These pitches are for standard (classical) mouthpieces and reeds. Flute - A on stopped or open headjoint only
Oboe - Reed crow should sound B or C
Bassoon - Reed crow should sound G or A
Bb Clarinet - C on mouthpiece and reed only
Bass Clarinet - F# on mouthpiece and reed only
Soprano Sax - C or C# on mouthpiece and reed only
Alto Sax - A on mouthpiece only; G# on mouthpiece and neck
Tenor Sax - G on mouthpiece only; E on mouthpiece and neck
Baritone Sax - D or D# on mouthpiece and reed only These pitches are from "Developing the Complete Band Program", by Shelley Jagow. If you are not getting the correct pitch, check the following: All Wind Instruments Air Speed - Always use fast air .

Flute Embouchure - The aperture (hole between your lips through which you blow air) should be very small. Check in mirror - you should barely see the aperture. The lips should be together in a "pout" position, as if you are saying the word "pooh."

Flute Headjoint Placement against chin, up to middle of lower lip

Clarinet/Sax Reed Strength/Quality - Reeds should be at least a #2 1/2 to #3 strength. By second half of first year, students should be playing on #3 reeds. Depending on mouthpiece/reed combination, harder reeds might be used as students progress. For clarinet, Van Doren reeds are recommended. For saxophone, La Voz (medium to medium hard) or Van Doren are recommended. Reeds that are too soft and/or poor quality may produce sounds that are flat (or under pitch).

Clarinet/Sax Ligature - Not snug enough? Ligature screws should be snug enough to hold the reed in place without the reed wiggling, but not so tight that the screws or ligature could break. Clarinet Lip Pressure - Clarinet embouchure should be very firm, with top teeth on top of mouthpiece. Push mouthpiece UP to create firm pressure against top teeth. Mouthpiece should not be able to wiggle in mouth.

Saxophone embouchure is similar to clarinet, but more relaxed. You do not need to push up against the teeth for saxophone, but the top teeth should always rest on the top of the mouthpiece when playing. Many sax players stick a teeth protector (bought at music store) or several small pieces of electrical tape on the top of the mouthpiece, so that the teeth are more comfortable. Clarinet/Sax - How Much Mouthpiece or Reed in Mouth - For saxophone and clarinet, look at the mouthpiece (with the reed on it) sideways. Note where the reed meets the mouthpiece. That is how far you should take the mouthpiece into your mouth. Oboe Embouchure - Place the tip of the reed on your lower lip, right on the line where the inside of your lip meets the outside of your lip. Roll your lower lip slightly over your bottom teeth, and bring the upper lip down to meet the reed. Shape your lips as if you are saying "oh," and bring corners of lips in. Oboe embouchure is very firm. The lips should feel like an "oh" shape, as if they (the lips) are holding the reed open. Think of an old man trying to put his lips together to whistle. Bassoon Embouchure - Bring upper lip to the wire of the reed and keep lower lip relaxed over bottom teeth. Except for a possible slight overbite, lips should feel relaxed and natural.