Woodwind Anthology

I am very pleased to present a new edition of this book first published in 2005. I have taken the opportunity to include various suggestions and developments in the last ten years. Many new clarinet choirs have been established around the world during this time both in the cultural sector and as training ensembles. This last fact should not however detract from the fact that the clarinet choir as a medium is generally becoming more popular and is emerging as a permanent feature of the concert life in many countries. In the course of giving concerts at home and abroad with my own ensemble, the Austrian Clarinet Choir, I have had the opportunity of getting to know many new arrangements and original works, gaining new inspiration and learning to appreciate the rich possibilities the Clarinet Choir offers. These days, its tonal palette is not only evident to us connoisseurs. In recent times, the public has started to appreciate the scoring of this unique ensemble ranging from the now well-known E flat clarinet down to the Contrabass Clarinet. While I have seen increased interest in the genre in the course of delivering lectures on the subject in Europe, the USA, Latin- and South America, South Africa... it has become apparent that there is hardly any literature on the subject, so it was obviously important to me to have the book translated into English and Spanish and to include as much new information and additional research as I could.

For one semester/quarter courses in woodwind methods. Teaching Woodwinds has draws on the authors thirty-five years of experience teaching woodwinds to students. Organized by specific teach topics from the fundamentals of hand and finger position to articulation and intonation. Drawing on a classic set of teacher/student duets, the included twenty-five class lessons enable students to learn by doing and by listening as they play duets with the instructor.

The second edition of Susan J. Maclagan’s A Dictionary for the Modern Flutist presents clear and concise definitions of more than 1,600 common flute-related terms that a player of the Boehm-system or Baroque flute may encounter. Fully illustrated with more than 150 images, the entries describe flute types, flute parts; playing techniques; acoustics; articulations; intonation; common ornaments; flute-making and repairs; flute history; flute music books, and many more topics. Unique to the second edition are entries on beatbox techniques and muscles of the face and throat. Entries now also feature bibliographic cross-references for further research. Carefully labeled illustrations for many flute types, parts, mechanisms, and accessories help make definitions easier to visualize. Appendixes provide further information on such subjects as flute classifications, types of flutes and their parts, key and tone hole names, head joint options, orchestra and opera audition excerpts, and biographies of people mentioned in the definitions. Contributed articles include “An Easy Guide to Checking Your Flute Tuning and Scale” by Trevor Wye; “Flute Clutches” by David Shorey; "Early Music on Modern Flute” by Barthold Kuijken; and “Crowns and Stoppers” and “Boehm Flute Scales from 1847 to the Present:The Short Story” by Gary Lewis. Maclagan’s A Dictionary for the Modern Flutist, second edition is an essential reference volume for flutists of all levels and for libraries supporting student, professional, and amateur musicians.

Wind Talk for Woodwinds provides instrumental music teachers, practitioners, and students with a handy, easy-to-use pedagogical resource for woodwind instruments found in school instrumental programs. With thorough coverage of the most common woodwind instruments - flute, oboe, clarinet, saxophone, and bassoon - the book offers the most topical and information necessary for effective teaching. This includes terminology, topics, and concepts associated with each specific instrument, along with teaching suggestions that can be applied in the classroom. Be sure to look to the back of the book for a "Practical Tips" section, which discusses common technical faults and corrections, common problems with sound (as well as their causes and solutions to them), fingering charts, literature lists (study materials, method books, and solos), as well as a list of additional resources relevant to teaching woodwind instruments (articles, websites, audio recordings). Without question, Wind Talk for Woodwinds stands alone as an invaluable resource for woodwinds!