Word choice is important to young musicians. They don't know that, but their mentors should. The words we choose to describe music, musicians, and the physical movements needed to create sound must be quick and detailed. I have found that those of us "in the business" use terms and sayings that have meaning and sub-context that may not be helpful for younger students.

We use the words we use because our music teachers used them and our life, performance, and educational experience give them complex meaning. However, many words can inadvertently cause students to develop habits that are difficult to reverse without dedicated practice or private instruction. They can also cause psychological blocks that can impede young brains from allowing them to succeed. Choosing better words will not solve all of the issues we commonly have, but these are some that have improved my teaching and eliminated some frustrations and re-teaching in later years.

The use of air is incredibly important for all wind players so the words we use to describe air movement should be also. We commonly hear the word "more" for issues with tone and pitch production. I use "more" in specific situations where students are not playing the correct volume or are actually not blowing hard enough. That trumpet player who is blasting a G when trying to play a third space C needs more specific imagery than simply "more air" (try faster, skinnier, etc.)

In fact, when we are teaching woodwinds, "more air" is rarely the right word choice. More air usually causes spread tone and difficulty producing and controlling higher notes. "Different" is a much more thoughtful word. There are so many more descriptive words when it comes to using different air: tall, skinny, cold, fast, hot, firm, round, wide, etc.

Saxophones and clarinets should not be told to stretch their lip over their lower teeth. This gives them the impression that the teeth, and subconsciously the jaw, have something to do with sound production. It also creates an image of their lower lip being thin and weak when it needs to be strong and supportive. I suggest having saxophones focus on resting the top teeth on the mouthpiece, clarinets touching the mouthpiece to their top teeth, and having them close their lips, keeping the jaw stable. When most close their lips around a mouthpiece, their lips naturally cover their teeth. The lips should cradle the reed and the bottom teeth should have little to do with tone production and we should not suggest that they do. I have used the phrase "Control the reed" in the past, but, to the young mind, controlling the reed probably translates to stifling its vibrations. We need to allow the reed to vibrate freely. We should never use "bite" for the same reasons; use firm, pressure, tight, focused, etc.

Ask your saxophones "Does the saxophone rest on your lip, or does your head rest on the saxophone?" Give no clue in the pitch or emphasis in your voice. The correct answer for proper tone, and the ability to add vibrato later on, is that their head should rest on the saxophone. If they can make that change (top teeth resting on the mouthpiece, lower lip and jaw relaxed and low) they will start to create proper tone concept in their ear and face. In the short term, it may lower the fundamental pitch of their instrument or mouthpiece. For those worried about intonation, the tone is more important; be patient! Please let your young saxophones play a bit flat in their beginning months (even years!) - forcing a higher pitch will cause embouchure and pitch problems later (especially in the extreme registers).

Have trouble with your clarinets playing shrill or screechy in the upper register? First make sure they are on a hard-enough reed; upper notes need a firmer reed. Tell them to "open their teeth and use tall, cold and skinny air." This type of air allows control and allows the air to be focused enough to keep the pitch centered without overplaying. This change of registers is shocking to them anyway, focus on creating good sounds in this register. You will find that with cold, skinny air they will be much more in tone, feel more in control, have dynamic contrast and will blend better with the ensemble.

Have you had trouble with your beginning flutes taking a long time putting their instrument to their face? Don't allow flutes to look at their fingers when they learn to place their fingers. After a few days, once they know where the fingers should go, tell them to "feel" for where the fingers should go. It will be uncomfortable for them, but if they do it a few times, they will be faster - and so will your class! Try having the flutes look directly at you (do not let them look away from you) and bring their flute to playing position and play a tone. When they set it down, have them wave at you with both hands. Waving is silly, but it will make them smile and they won't be able to cheat and keep their hands and fingers in place. Do this 4-5 times as a group like you would any other skill in beginning class; I do it pretty early. It is important that they are able to get to playing position quickly so music learning can begin.

Here are some words and situations where different words may improve results:

Remember, some concepts take time, and repetition. Your descriptions of concepts and the physical movements needed to be successful will need time and repetition also. Challenge yourself to be creative and descriptive! Think about the words you use and whether they have hidden meaning, if they do use something different. You will become a better teacher and students will have more success and fun.