Clarinet Coursepack

Eastern Michigan University Department of Music & Dance

MUSC 281 Basic Woodwinds: Clarinet COURSEPACK Fall, 2010 Room 105 Alexander Music Building Tuesday/Thursday 8:00 am

TONE And SOUND QUALITY

SOUNDS GOOD!!! Fundamentals of Tone Production Eastern Michigan University Dr. Kimberly Cole Luevano I. BREATHING/BREATH SUPPORT: The foundation of solid sound! 1.

2.

3.

INHALATION: a. Expansion of DIAPHRAGM. Deep breaths which fill the lungs completely and push out the diaphragm are essential to proper support. Imagine your lungs as balloons, then fill the balloons from bottom to top, and expand all around. Feel that the ribs are expanding and/or ““floating”” instead of staying fixed into place. b. Correct breath=expansion around abdominal, back and chest. Shoulders stay DOWN. c. THINK of the air having DENSITY. Air inside should be DENSE: tightly packed! d. Keep your throat relaxed when you breathe in so that you take quiet breaths and so that the rest of you stays relaxed! EXHALATION: (aka. SUPPORT: ““SUPPORT is the action of the player pushing down on the diaphragm muscle as it is naturally returning to the inverted bowl shape, this slows the exhalation of the air so that the player may achieve longer phrases.”” This description thanks to Dr. Stone!) a. Maintain constant ““outward”” pressure against diaphragm and abdominal and back muscles at all dynamics. This provides adequate support to ““pressurize”” the air. THINK VELOCITY: air is FAST. Think of pushing out or expanding abdominal muscles as you are running out of air. b. Exhale with force! Much more than ““normal”” breathing. Good images include blowing out birthday candles from a distance, laser beam air, ““Superman”” air (from the scene in the movie when he makes the world spin backwards.) c. Steady exhalation! Steady push/pressure. No dips in sound. d. Focus air into reed! Think ““hee”” to help get tongue into optimal position. e. dynamic range is controlled by VOLUME: the amount of air pushed out of the clarinet. However, the VELOCITY and/or DENSITY should most often remain constant. For instance, soft sound is only less air, not slower air. f. .Use the rests to get rid of all bad air and fill up with good air. COMMON PROBLEMS: a. Undertones——Usually caused by one of the following: i. lack of good air support ii. reed that is too soft iii. tongue isn’’t in the correct shape inside mouth. Try thinking/whispering ““hee”” to get it in the correct place. NOT ““AH””. iv. embouchure isn’’t correctly formed BEFORE starting. Make sure your lower lip is nice and firm and chin is nice and taut. b. Poor high register: Not fast or focused enough air. c. Difficulty controlling soft dynamics: Not big enough breath (Inhalation), not using diaphragm to help support sound (lack of density and/or velocity.) d. Shallow breathing=weak tone, air backs up (hyperventilating). e. Soft reed--not able to use good air support, flattens pitch f. ““Ballooning”” notes--inconsistent air flow on exhalation, support not steady, having swells/bulges on individual notes.

II. EMBOUCHURE While many students can tell me what the elements of a good embouchure are, not as many can actually do what they say. Here’’s my list of essential embouchure elements. The only way to make sure you’’re doing them is by constant attention, feel, and looking in the mirror. Though it takes more time initially, continually review each element and correct yourself at every chance. BAD EMBOUCHURE affects EVERY element of clarinet-ing and prevents satisfactory progress! 1.

2.

3.

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Formation: Once formed, the embouchure SHOULD NOT MOVE!!! a. LOWER LIP: covers lower teeth. Just enough to cover. (some people think of having ½ of their lower lip over teeth. May or may not work for you depending on the size of your lips.) Lower lip is slightly rolled over lower teeth. Should be somewhat firm: a firm cushion, not flabby. b. CHIN: Flat, smooth. Stretched and ““pointing”” down. Say ““ew”” or ““piu””. No bunches. Should see the natural curve of the chin exaggerated, not disappearing. c. CORNERS: ““in””, forward, and firm. No ““smiling””. Instead, consider a ““soda straw””, a drawstring bag: equal pressure distributed around mouthpiece, or slurping a piece of spaghetti. You can also think of pointing your corners ““downward.”” d. CHEEKS: NOT puffed. Firm and tight against teeth. Helps maintain corner firmness. e. UPPER LIP: also firm and smooth! Widow’’s Peak rolled slightly under and firm. Think of upper lip muscles pushing down into mouthpiece. Use thumb to check and feel those muscles. Amount of mouthpiece a. Approximately ½”” of mouthpiece/reed inside mouth. Use the following guides: i. Hold mouthpiece sideways and look for the place where the reed separates from the mouthpiece. Often, this is a good placement for the amount of reed inside the mouth. ii. Carefully insert a small sheet of paper between the mouthpiece and the reed to the point that it stops. Again, this much reed can likely be inserted inside the bottom lip without ““squeaking.”” iii. Mouthpiece patches help guide teeth. Also, consider placing electrical tape on top of the patch to assist in guiding students’’ teeth. b. Upper teeth resting firmly ON top of mouthpiece. Think of thumbs pushing ““up and out”” to snug mouthpiece against upper teeth. c. Upper teeth remain on mouthpiece when breathing! Breathe through corners of mouth rather than lifting teeth off mouthpiece. d. Too much mouthpiece will result in wild, uncontrolled sound and ““overblowing””. e. Too little mouthpiece will result in a small, pinched sound. f. Mouthpiece CENTERED on clarinet and to your body. Angle to body: Clarinet should be at a 30 to 45 degree angle to the body, both when seated and standing. Make sure clarinet is centered in mouth. NO SIDE SADDLE PLAYING! a. KEEP HEAD UP and LEVEL! Watch head angle especially when seated and consider that stand height can affect head angle. Don’’t rest the clarinet bell on your legs: It will also affect your head angle. b. If there is saliva in the sound, check the horn angle and make sure head is up! Building exercise: Embouchure sprints. To help students develop embouchure, I start with the mouthpiece and barrel only using the following process: a. FORM your embouchure and hold it for one minute. Rest 30 seconds, then repeat. This should help you feel the muscles you should use in forming your embouchure. b. Next, form your embouchure then insert mouthpiece and seal lips around mouthpiece. Make sure embouchure doesn’’t change. Practice inserting mouthpiece several times, again making sure embouchure doesn’’t change when mouthpiece is inserted. c. Now form embouchure, seal lips, and blow, again paying attention that embouchure doesn’’t change. Blow as long as they are able: up to 20 seconds. Take a 10 second

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5.

pause, then repeat. If embouchure pressure and air speed are correct, mouthpiece and barrel combination should sound a concert F#. d. Add the rest of the clarinet now and ““sprint”” on various notes. Best to start on ““E”” (LH thumb and first finger). A note of low resistance: not so much back pressure on embouchure. Common problems associated with embouchure: a. ““Biting”” or ““pinching””: excess jaw pressure to control sound and reed. Results in a small, thin, bright, tense, and/or forced sound. Usually pitch is sharp. b. Bunched chin: often occurs with biting/pinching. Muscles not developed, too much upward pressure into reed. c. Incorrect amount of mouthpiece in mouth. d. No use of corners and/or corners pulled back. e. Bottom lip too loose: sound is spread, high register difficult to play, pitch often flat, no control

III. ROLE MODELS Do you KNOW what a good sound is? How do you find out? LISTEN——get a concept of good sound . HEAR one and get it into your head so that you can try to assimilate it. This can be accomplished by: 1. Recordings: play several different artists so you hear that there are many wonderful but different sound qualities. Some inspiring artists include: Sabine Meyer, David Shifrin, Charles Neidich, Larry Combs, Frank Cohen, Elsa Ludewig-Verdehr, Richard Stolzman, Harold Wright, and Robert Marcellus (among many, many others.) 2. Professional Artists: GO TO CONCERTS!! We’’re blessed to have lots of great clarinet playing in this area from the Detroit Symphony, Michigan Opera Theater, and the many, many other professional orchestras throughout the state. 3. Private Lessons. Take private lessons and play along with your teacher!! 5. Listen to other instrument/vocal examples: Listen, listen, listen and analyze what makes other instruments sound pleasant and inviting, then see if you can’’t try to do the same in your own playing.

IV. CONCEPT OF SOUND: And speaking of concept of sound, how do you get a concept? For starters, consider the words given us on the adjudication form for MSBOA Solo and Ensemble. Beauty: What is the quality of your tone? Is it pleasant to listen to? Is it matched and even in quality in all registers? Is it even and match in quality at all dynamics? Is it focused? Is it covered, warm, and dark? Is it full? Is it centered even in soft dynamics? Are you getting all the fuzz out of your sound? Control: Just as it sounds: are you controlling your tone, or do you tend to overblow in loud dynamic passages? Do you have a good balance between the velocity (speed) and amount of the air you are putting through your instrument? Are you supporting? There’’s a book called The Art of Clarinet Playing written by Keith Stein who was the Professor of Clarinet at Michigan State for many, many years. He lists many words to help students understand how to describe their tone. I will list them here, since I think it’’s a great way to check what you’’re doing. Shape Body Edge Intensity

Depth Glow Richness Mellowness

Cover Resonance Brilliance Cushion

Feel free to add your own adjectives like: velvety, chocolaty, warm, smooth, round, friendly, shimmering, pale and colors like: azure, soft yellow, pale blue, gray, burgundy, royal blue, violet, magenta, neon green.

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Think of how you want to be able to describe your sound, then go for it! It’’s a good idea to use a tape recorder/mini disc/recording device to ensure you’’re actually sounding the way you THINK you are. Another good exercise is to try to match the BEST sounding note on your instrument (usually a clarion ““F””) IN EVERY RANGE AND AT EVERY DYNAMIC LEVEL. Aim for homogenous and uniform sound at all times.

V. EQUIPMENT: Good equipment does make a difference in tone quality. 1.

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Instrument: Of course, a good, top of the line, wooden clarinet always makes a HUGE difference in tone quality. If you can’’t afford a professional quality instrument, there are several good quality ““intermediate”” wood clarinets made by Buffet, Yamaha, Leblanc, and Selmer. These are less expensive and are a fine quality. However, if you think you’’ll keep playing for awhile, it’’s wise to make an investment in a ““professional”” model clarinet: Buffet R13 or R13 Festival, Leblanc Concerto or Opus, Selmer, and Yamaha. Mouthpieces: A good mouthpiece is a starter. NEVER play with the ““stock”” mouthpiece, i.e. the one that automatically comes with your clarinet, unless the music store ““upgrades”” the mouthpiece. Take care of your mouthpiece——use your mouthpiece cap when you aren’’t playing, careful not to knick the mouthpiece tip or to scratch the mouthpiece table. Use a mouthpiece patch to prevent teeth from ““denting”” the mouthpiece. Good brands to consider: Vandoren M13, M13 Lyre, or 5 RV. Richard Hawkins mouthpieces. Pyne Sinfonia (or Custom) Mouthpieces. Gregory Smith mouthpieces. Gigliotti P facing mouthpiece, Jewel mouthpieces. Ligatures: An upgraded ligature can make a big difference in the way a reed responds, in your sound quality, and in your playing in general. Some models that are rather inexpensive yet effective are: Luyben and Bonade Inverted. Also consider Vandoren, BG, Robert Scott, and Charles Bay. Barrels: Though this is often the last item to which I have students upgrade, it is still an important addition both for improvement in pitch, in tone quality, and in matching the different registers of the instrument. Different makes to consider include: Robert Scott, James Pyne, Guy Chadash, and Moennig. The Scott and Pyne barrels come in different bore sizes, so it is best to order some of each bore to try them. The Chadash and Moennig are all unique. Try several of each to make sure you choose the best for their instrument. 66 mm. is standard length for Bb clarinets, 65 mm. for A clarinets. If you tend to play ““sharp”” due to instrument, mouthpiece, or embouchure, get a slightly longer barrel. Similarly, if you play ““flat””, consider a slightly shorter barrel.

VI. REEDS There is, obviously, much information about reeds, much of which is difficult to discuss briefly. Here are some simple ideas to explain: 1. Make sure your reed is aligned correctly. a. The reed tip should line up with the mouthpiece tip and should be centered on the table of the mouthpiece (attention to the butt of the reed as well as the tip). b. However, a reed’’s effectiveness can be improved simply by its placement on the mouthpiece. c. Most reeds are not symmetrical and may play better if moved SLIGHTLY off center, either to the left or right. i. . A reed can be moved up on the mouthpiece to make it feel ““harder.”” ii. A reed can be moved down on the mouthpiece to make it feel ““softer.”” 2. Make sure the reed strength is the appropriate strength for your mouthpiece and you!. Appropriate strength is dependent upon mouthpiece facing and student makeup. a. A reed that is too thick or ““hard”” will sound airy and be difficult to blow. This can cause tremendous embouchure problems, especially ““biting”” and bunched chin. b. A reed that is too thin or ““soft”” will sound bright and buzzy. Pitch will be flat in general, tone difficult to center, altissimo notes difficult, if not impossible, to produce. STUDENTS OFTEN USE REEDS THAT ARE TOO SOFT, MAKING IT IMPOSSIBLE TO PLAY WITH GOOD FUNDAMENTALS.

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3.

4. 5. 6.

Conversely, just because your friend is using a Vandoren #5 doesn’’t necessarily mean this is best for you! Depends on your physical makeup and your mouthpiece. Pick a good brand of reed. In general, you get what you pay for! It’’s possible to purchase reeds by the box from many companies (including mail order) for significant savings! I recommend Vandoren, though these are not too consistent! Mitchell Lurie is a consistent brand, though they vary a strength from Vandoren. (Vandoren 3=Mitchell Lurie 4). Have several reeds to choose from and rotate those reeds instead of playing one constantly. Remove the reed and store it each time you play rather than leaving it on the mouthpiece! Learn how to ““break”” in reeds. Reeds last much longer if they are broken in. Have your private instructor teach you. There are many different methods to do this. Mine is listed at:

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Not Enough Mouthpiece Inside the Mouth If the sound

on the barrel and mouthpiece is unfocused and below F#, take in more mouthpiece until the pitch comes up. Too little mouthpiece inside the mouth can also produce sharp pitch among more advanced players.

Too much mouthpiece inside the mouth

will

cause

squeaking.

Top Teeth are not Gripping the Mouthpiece Firmly Enough This is common among beginners and younger players. The clarinet embouchure is firm and the student must learn to not let the mouthpiece move around inside the mouth.

Tongue position is too low The tongue should be high

(HEE) and forward inside the mouth.

Corners are Too Relaxed

Bottom Lip is Too Loose Tell the student to firm the bottom lip. Avoid saying "make your chin flat" as this may encourage a 'smiley-face' embouchure which can lead to a thin, sharp sound. Use the analogy of drinking a milkshake through a

The comers play a vital role in a correct embouchure. Tell the student to bring corners down and in, again much like the 'straw' analogy or as in saying 'ooh., Relaxed corners contribute to spread tone in the middle resister.

straw or putting on chap stick.

Fast Air

.

Not Enough Air

Air is'always an issue. Let

students practice

everything at forte for one week. Tell them to blow until they feel resistance from the instrument. Students may be surprised to find that they have never felt 'baek,pressure' from the clarinet, a_ necessary bi-product of sufficient air.

Students with air support problems are often using slow air instead of fast air. The result may be a"fuz4" sound due to lack of air speed and a relaxed diaphragm. The clarinet gets its best sound

with quickly moving air.

Improperly Shaped Air Stream A slow, weak air stream does not have the same shape as a fast air stream. Use the analogy of a garden hose. Describe the shape and speed ofa 'jet' setting on a hose nozzle.

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Secrets

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following excerpts from Michdle Gingras'new book, Clarinet

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52 Petformance Strategies

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the Advanced Clarinetist

(with a CD) are reprinted here by kind permission of Scarecrow Press in Toronto.

On Intonation: Secref 13 - The Chin Exercise

Embouchure is crucial to producing a good tone. Generally, clarinet students are taught to flatten the chrn and,wrap the lips around the mouthpiece in an "o" shape. While most muscies are easily controlled (such as fingers, cheeks, and tongue), the chin muscles are more dfficult to move independently. Before being able to move the chin muscles with ease and precision, one must be aware of how these muscles work.

Try this exercise: while keeprng yow jaw firmiy closed,

tendency to bite while playing in the upper registers.

A tt\

tr"y moving

the chrn muscles up and down. The upward motion is naturally easier Concentrate on stretching the chin's skin and muscles as much

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This exercise should be done until control

of the chin muscles is easily achieved.

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Figure 1. Moving the chin muscles up and Q,gwn.

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Figure 3: Proper (A) and improper (B) placement of the lower lip against the reed.

A good and effective clarinet

embouchure permits control of the most subtle colour changes in the sound. A correct distribution of lip, jaw, and chin tightness (50% upward, 50% downward) is shown in Figwe 4

6elow).

The reason for shetching the chin muscles is that the reed needs to vibrate against a firm surface, i.e., the iower lip and teeth, so its vibrations will not be hindered or exaggerated. A soft chin embouchure allows the lower hp to become too loose and makes the reed vibrate uncontrollably, resulting in a flat and colourless tone. The chin might also be touching the reed, therefore dampemng the sound. The upper teeth should rest near the tip of the mouthoiece.

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of lip, jaw, and chin tightness.

As the lips follow the contour of the mouthpiece to prevent air Figure 2: Left: The chin is stretched (correct). Right: The chin is relaxed (incorrect). Figure 3, Example A ftelow) illusn'ates a proper angie. The lower Iip shouid lie near where the curve between the mouthpiece and the reed starts. This avoids squeezing the reed against the mouthpiece, causilg the sound to choke (examFle B). A helpfirl hint is to gent$ push the right thumb (under the thumb rest) toward the upper teeth in order to avoid the

leaks

and to equalize the embouchure, the chin is stoetched downward. Note the opposition ofpressure at the * sign; the resulting tersion rs the key

to a resonating tone. The goal is to find an ideal middle ground where the chin's tension is divided equal1y. Diligent practice should detennine the best diskibution ofpressure on the reed for each individuai. Biting too much narrows the tone and gives it abwzy qualify, while relaxing too much takes the centre of the tone away and adds an aii noise to the sound.

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Register Shifts Register Shifts Example Two Register Shift Exercises Keep tempo slow - Quarter Note = 60.

Slur everything. PIay each note with the same tone qualify. Do not change the anything when the register k-ey is added. As you go above 'Thumb C', the back of the tongue adjusts to a slightly lower position to facilitate tone production.

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INTONATION

THE QUEST TO PLAY IN TUNE Dr. Kimberly Cole Luevano Eastern Michigan University First and foremost, it is important to recognize that good intonation in playing clarinet is dependent upon several ““fundamentals.”” In your quest to improve your intonation and listening skills, you’’ll want to consider the following principles before anything else. Make sure these elements are the best they can be, and good intonation and the ability to play in tune will come much more easily to you. 1.

Instrument: It is best to play a good quality instrument. Generally, the more well known brands: Buffet-Crampon, Leblanc, Yamaha, and Selmer, are tuned and adjusted fairly well at the factory to modern pitch standards. Older instruments, those that you might inherit from your relatives or find in the want ads of the newspaper, might not have as good overall intonation. The bores of wooden clarinets tend to shrink over longer periods of time, and this adversely affects the tone and intonation of the instrument. Additionally, older instruments were sometimes tuned to different pitch centers.

2.

Mouthpiece with appropriate reed strength: A mouthpiece’’s internal shape can greatly affect your intonation. Upgrading from the ““stock”” mouthpiece to a higher quality mouthpiece is a relatively easy and cost effective way to improve your tone and intonation. Ask your private instructor or your ensemble conductor for recommendations of reputable brands. Next, make sure you are playing the correct strength reed for the mouthpiece, as no two mouthpieces, even those made by the same person, are exactly alike. A reed should be resistant enough to provide a good core and cover to the sound (so the sound isn’’t bright or edgy) but not too hard to blow or fuzzy. If your reed is too soft, your pitch will likely be low. (flat.) Similarly, if it is too hard, you will have to apply undue pressure to the reed in order to get it to play. This will likely make your overall pitch a bit high. (sharp).

3.

Tone quality: TONE QUALITY ALWAYS AFFECTS INTONATION!!! When trying to solve intonation problems, ALWAYS consider tone quality first. Aim for a warm, round, ““chocolate””, ““velvet””, covered, and focused tone that is fully supported at all dynamics and in all registers of the clarinet. I believe that one should always try to use a ““blending”” type of sound when matching pitch of others. Work to hold your support, and consequently your sound, steady at all dynamics and in all registers. Which other elements are essential to good tone quality? a. a well-developed embouchure. You should make sure that you are keeping your bottom lip firm, your chin nice and smooth, and using equal and adequate jaw pressure. Beware of using excess pressure, often referred to as BITING. Biting prevents the sound from being blend-able, warm, and cover and causes it to be harsh and shrill. Biting typically results in poor intonation as well! b. proper breath support. Make sure you are playing with a steady and constant stream of ““pressurized”” and supported air. Lack of breath support can cause pitch to be either flat or sharp! Beginnings of notes and ends of phrases are places to pay extra attention to your breath support and ensure it is remaining steady and constant. c. Shape of oral cavity: You want to be sure you are focusing the air into the mouthpiece with an arched tongue. Think of saying ““hee”” or hissing like a cat to feel what shape your tongue should be in. Avoid letting your tongue stay flat inside your mouth as in an ““AH”” sound.

As stated, the three items above are the very first to consider (and continue considering!) when learning to play in tune. Assuming these items are well in place, you then need to learn to ““play in tune with yourself.”” What I mean by that is that you need to learn what the pitch tendencies of your instrument are. To develop an overall sense of reference, it’’s good to try to keep each note on your clarinet close to the ““O”” mark on your electronic tuner. (though even playing a note at a straight-on ““0”” still doesn’’t guarantee it will be ““in tune.”” Keep reading!) What are some considerations for this? 1.

Get an electronic tuner to help you in your quest. The best are those that have a needle/digital display AND sound output. Unfortunately the best ones are also the most expensive. It’’s always better to have SOMETHING than nothing, however. You can start with a more inexpensive tuner and upgrade whenever possible.

THE QUEST TO PLAY IN TUNE 2.

Dr. Kimberly Cole Luevano Eastern Michigan University Unfortunately, because of the shape of the bore of the clarinet and the placement of the register key, the clarinet is inherently out of tune…….which is to say that the different registers have their own particular intonation tendencies. The first step to correcting these natural tendencies of your instrument is to know what they are! I recommend making a chart of each note of the clarinet. Next, using an electronic tuner, play each note at a medium dynamic level and with a nice, focused sound. Note what the tendency of the note is WITHOUT making any adjustments. You want to learn the honest placement of each note on your instrument. REMEMBER THAT EACH INSTRUMENT, MOUTHPIECE, and PERSON are different. While there are some general tendencies of the instrument, you’’ll need to determine the pitch of your own instrument rather than relying on anyone else’’s finding.

3.

EACH REGISTER of the clarinet must be tuned. It is best to tune/adjust all octaves of these notes rather than just the singular concert A440 or Bb that is played because you want to get a good overall sampling, not just a one note sampling. Tune to the note played (Usually A440 or Bb) first and adjust, then tune to each octave of the note and adjust accordingly.

4.

You must adjust at the joint of the clarinet closest to the note you are tuning. Too often, I notice that students pull out from the barrel joint ONLY. A more reliable approach is to adjust at the MIDDLE joint in tuning your initial concert A (played as a B on a Bb clarinet) or a concert Bb (played as a C). In tuning the notes an octave above, you would adjust from the BARREL. In tuning an open G, for instance, you would adjust at the BARREL joint. Typically, we adjust only at the barrel and in the middle. However, in extreme cases, you can also adjust at the mouthpiece joint or at the bell joint. Remember, if you are sharp, that is, high to the tuning note, you will PULL OUT. If you are low to the tuning note, you will push in.

So now you’’ve figured out the tendencies and tuned overall, but you still have problems. How to fix and improve those tendencies? What are some further considerations? 1.

2.

3.

4.

Barrel? If you are playing with good, focused sound, and trying to blend and are still are constantly and consistently flat or sharp in all registers, you might want to consider a different length of BARREL. Typically, the barrel for a Bb clarinet is 66 millimeters in length and 65 millimeters in length for an A clarinet. So, on a Bb clarinet, you may need to use a 67 millimeter barrel if you are always sharp, or a 65 millimeter barrel if you are consistently flat. On an A clarinet, you may need a 66 millimeter barrel if you are consistently sharp and a 64 millimeter barrel if you are consistently flat. Temperature affects pitch! When a clarinet is cold, its pitch is always LOWER than normal. When a clarinet is warming up, its pitch will rise. Although you might think you are in tune at the beginning of a rehearsal or concert, your pitch will go up if you are playing constantly or if there are bright, hot lights. You will need to keep listening and adjusting to maintain the same initial pitch level. Similarly, if you are in tune at the beginning of a rehearsal and don’’t play much, your pitch may likely be lower than the initial pitch center. Dynamics affect pitch! Assuming that you are playing with solid embouchure and correct oral cavity shape, your pitch will DROP when you play louder and will GO UP when you play softly. These tendencies can be corrected by proper breath support and SLIGHT adjustment in embouchure pressure and/or firmness. You can also add/subtract fingers or use alternate fingerings to help. (more on this below.) If you have a section in a composition that is really soft (in contrast to a really loud section), it is fine to pull out your instrument at the appropriate joint to accommodate. Just remember to push back in when you play at louder dynamics again. Nerves affect pitch! Consider what can happen when you get nervous. You may forget to take breaths which means your support won’’t be as solid. You may pinch a bit harder or ““bite”” with your embouchure…….Biting will raise the pitch and restrict your tone quality! You may tense up in your shoulders and abdomen, again prohibiting a deep breath and corresponding breath support. You may tense up your throat which also affects pitch. The obvious solution to this is: learn to control your nerves. Remember to breathe deeply! Don’’t worry about mistakes, just worry about conveying the spirit of the music you want to convey.

THE QUEST TO PLAY IN TUNE 5.

6.

Dr. Kimberly Cole Luevano Eastern Michigan University The adjustment of your clarinet can affect pitch. Do some notes stick out because they are always ““out”” in relationship to others close by? It could be that the height of the key opening isn’’t quite right. Usually, if a key or pad cup doesn’’t quite open enough, a note will be slightly low (often the tone is also stuffy.) Similarly, if a key or pad cup is opening too far, the note may be slightly high. In these cases, it’’s best to seek the advice of a professional repairman to verify that this is actually the problem and to have the problem fixed. Tuning rings! Do you find that you are almost always pulling out the same amount from either your middle joint or barrel joint? Consider getting tuning rings. Tuning rings are thin rings that you insert into the tenon to fill the gap left by pulling out. By using them, you don’’t have to worry about finding the placement each time——it will be uniform! Also, tuning rings help ensure more uniform pitch since they fill in the gaps left when you pull out.

We’’ve discussed MANY issues with playing in tune. Won’’t considering all this ensure I’’m playing in tune? NO! All these above issues are merely helpful hints…… Remember that I said earlier that just because you can put every note at ““O”” on the tuner doesn’’t mean you play in tune? That’’s because playing in tune has to do even more with LISTENING and training your ears to fit with what’’s going on simultaneously. In general, you will have to slightly adjust every note to make it sound in tune with whatever chord you’’re playing or whichever people you’’re playing with. Here are some guidelines and helpful hints for LISTENING. 1.

Make sure to ““internalize””, that is, hear the pitch inside your own head before tuning and matching the tuning note given. LISTEN to the tuning note and sing or whistle it back to yourself. Make sure you’’re matching it exactly before playing. Then when you do play, you’’ll have a more accurate reference.

2.

In tuning, tune at a medium dynamic. Remember that extreme dynamics affect pitch, so you just want a good overall impression.

3.

In tuning, it’’s best to listen to the lowest voices for your pitch reference. That means as a clarinetist you’’ll often find yourself listening to the 3rd clarinets…….or if you’’re a 3rd clarinetist, you’’ll listen down to the bass clarinets or tenor saxophones or horns or tubas. That’’s because these lower pitches are often more stable and often contain the primary notes of the chords. Similarly, if you play in octaves with another section in the ensemble, tune to the lowest note.

4.

However, if you play in unison as a section of 1st clarinetists or a section of clarinetists, it’’s the job of the principal clarinetist to listen down and set the pitch. You should try to match whatever pitch the principal clarinetist is setting.

5.

If your band happens to have a piano, marimba, xylophone in it, you’’ll need to listen to those instruments to tune because the pitch on these instruments is relatively FIXED. It can’’t be changed in the middle of a composition.

6.

Know where to place your note in relationship to the key signature in which you play and in relationship to the main note of that key signature. Each note in an interval has a place where it will SOUND in tune with the chord or interval, and such a place isn’’t necessarily at ““O””. The following is a general guideline to help you ““place”” the notes so they SOUND in tune: Interval of a minor 2nd : raise significantly. Interval of a Major 2nd (2nd note of the scale, for instance): raise slightly. Interval of a minor 3rd (3rd note of a minor scale): raise significantly. Interval of a Major 3rd (yes, the 3rd note of a MAJOR scale): lower significantly. Interval of a Perfect 4th (4th note of either scale): lower slightly. Interval of a tritone: lower. Interval of a Perfect 5th (5th note of either scale): raise slightly.

THE QUEST TO PLAY IN TUNE Dr. Kimberly Cole Luevano Eastern Michigan University Interval of a minor 6th (6th note of descending melodic minor or a natural minor scale): raise significantly. Interval of a Major 6th (6th note of a major scale or ascending melodic minor scale): lower significantly. Interval of a minor 7th (7th note of a natural minor scale or descending melodic minor): raise significantly. Interval of a Major 7th (7th note of a major scale or ascending melodic minor): lower significantly. A good exercise is to play with a tuner with an OUTPUT feature…….one that will play pitches. Set the tuner output on the first note of a scale then play the given scale SLOWLY (in slow whole notes.) Listen for ““beats””…….waivers in sound that occur when you are not placing your intervals exactly. Try to eliminate the beats and waivering by slight adjustments to your embouchure or by adding/subtracting fingers. Which fingers can I add or subtract to help? To raise pitch, you’’ll need to OPEN a tone hole. Consider: a. the right hand pinkie Ab/Eb key. b. the left hand pinkie c#/g# key. c. the right hand side keys, usually the bottom 2 side keys. d. The right hand sliver (fork) key. e. The left hand sliver (fork) key. To lower pitch, you’’ll need to CLOSE a tone hole. Consider: a. The right or left hand pinkie E/B key. b. The right or left hand pinkie F/C key. c. The right or left hand pinkie F#/C# key. For throat tones, consider adding some (or all in some cases!) of the fingers down in your right hand. This will also assist in going over the break. For notes that use only fingers in your left hand, you can (and most often should!) keep your right hand close to the tone holes to cover them a bit. ““Playing in tune”” and developing your listening skills are LIFELONG quests. Hopefully these tips can help you begin your quest and answer some of your initial questions.

ALTISSIMO

A Brief Introduction to the Altissimo Register Dr. Kimberly Cole Luevano Eastern Michigan University A. GENERAL REMINDERS: If embouchure is correct, only faster or more focused air is needed to play altissimo notes, not any firmer embouchure. 1. 2.

Embouchure does need to be firm, though NO BITING/PINCHING. Consider taking in a touch more mouthpiece. to be sure the lip is at a place on the reed which can support the amount of pressure necessary for altissimo note response. a. Reminder: generally, the place on the mouthpiece where the mouthpiece and reed separate is the place where the lower lip should rest. 3. Angle of the instrument: make sure your chin is level and the clarinet brought in close enough to your body. a. Reminder: Have students think of pushing up with the right hand thumb and out with the left hand thumb. 4. ““Voicing””: Tongue should be arched inside mouth. Again, the ““hee”” syllable. Even think of exaggerating this syllable. 5. Fast enough air: make sure to blow a steady, fast air stream. 6. For most students, the Ab/Eb ““helper”” key should be depressed on all altissimo notes except c#. a. If the altissimo is sharp, simply take off the Ab/Eb key or check to see that no biting (upward pressure from the lower jaw) is occurring. 7. Articulation in altissimo register requires much less tongue motion than lower registers.

B. COMMON PROBLEMS: 1. 2. 3. 4.

Not fast enough air stream. Results in: a. subtones. b. pinching reed Not focused enough air stream. Results in: a. subtones. b. pitch problems. Lower lip ““mushy””. a. no altissimo register: subtones. b. pitch flat. Biting: too much upward lower lip pressure. a. pitch sharp. b. overblows altissimo notes. c.

C. FINGERINGS: 1. 2. 3.

Many fingerings are available for altissimo notes. Listed below are some of the most common choices. Choice of fingering depends of notes preceding or following the altissimo note as well as intonation and dynamic level required. 4. For other fingerings, several books are available including: a. Ridenour, Thomas. Clarinet Fingering: A Comprehensive Guide for the Performer and Educator. Kenosha, Wisconsin: Leblanc, 1990. b. Drushler, Paul. The Altissimo Register: A Partial Approach. Rochester, NY: Shall-umo Publications, 1978. c. Rehfeldt, Phillip. New Directions for Clarinet. Berkeley: University of California Press, 1978.

ARTICULATION

ARTICULATION FUNDAMENTALS Dr. Kimberly Cole Luevano Eastern Michigan University

Good tonguing is dependent upon steady, solid air support/stream and a stable embouchure. The tongue only stops the reed from vibrating: it doesn’’t ATTACK the reed. A. Tip of the tongue to the tip (more or less) of the reed. 1. 2.

No anchor tonguing. To ““find”” tip of the tongue: a. Scratch tip of tongue with fingernail. b. Rub tongue along inside bottom teeth. c. Place tip of tongue to tip of reed OUTSIDE mouth. d. Bring mouthpiece into mouth keeping tongue in place on reed. e. Form embouchure. f. Take a breath and build support and pressure BEHIND the reed. g. Release reed. B. Only the front of the tongue moves. 1. Tongue should stay front/forward and close to the reed. 2. Back of tongue should be slightly arched inside mouth AT ALL TIMES for optimal positioning: ““hee””. If not, altissimo notes will NOT LIKELY speak. C. TONGUE PRESSURE SHOULD BE NO MORE THAN IS NECESSARY TO STOP THE REED FROM VIBRATING. 1. The RELEASE of the tongue actually creates the articulation, not the movement of the tongue to the reed. 2. Encourage legato articulation for relaxed, close tongue stroke. 3. Staccato style evolves out of good legato style!

D. NO EXCESS MOVEMENT! 1. 2.

No bottom lip/embouchure movement. No throat movement. Indicates tongue is moving to the reed from too far away in the mouth OR tongue is in incorrect position. No jaw movement.

3. E. COMMON PROBLEMS: 1. Harsh tongue: TONGUE IS WORKING MUCH TOO HARD! a. ““Attacks”” reed instead of brushing reed. Have students imagine their tongue is a feather or a small paintbrush that barely touches the reed. OR have students actually speak the articulation. They will easily ““hear”” that there is tension in their tongue. b. Tongue is likely moving too much: c. There should be NO visible throat motion during articulation. 2. Sluggish tongue: Incorrect part of tongue to incorrect part of reed: a. If this is the case, the sound quality will change during articulated passages or there will be MUCH excess motion. b. If incorrect tongue placement, embouchure will look good, but tone will be poor. c. Flat tongue: Will cause spread, poor tone, difficulty in high register, and/or heavy tongue. 3. Poor legato: Not enough support and/or air to help the tongue or supporting the notes only rather than the line. Also, tongue could be too heavy and not relaxed enough. 4. Lack of coordination between tongue and fingers. Contrary to many students’’ belief, lazy, uncontrolled, or uneven fingers are the culprit in articulated passages, not the tongue. Make sure students have the technique mastered first (slow to fast approach!) and that the passage is clean and even when SLURRED! Then have students consider moving fingers SLIGHTLY ahead of tongue, crisply and evenly. 5. Lack of proper support/support of individual notes rather than the entire line. Make sure students don’’t stop the air for each individual note to create articulation. Instead, the air stream should stay steady, and the articulation occurs ““on top of”” the airstream.

11

Heavy, Harsh Articulation

Scooped or Spread Sound on Articulated Notes

A bad articulated sound is generally caused by excessive motion of the tongue. Most students try too hard and move the tongue too much.

A scooped or spread sound on articuiated notes

Use Option One to re-introduce a more gentle

exercise at the absolute fastest speed that the student can go. It is very difficult to move the embouchure at fast speeds. Over time, work backwards to slower speeds until movement

motion of tongue to reed surface.

o

. o

Breath start each whole note with the svllable

'Hee'.

Lightly touch the lip of your tongue to the lqp of the reed - 'tee' syllable. Keep your tongue high and forward inside the mouth. Altemate speaking the exercise with playing the exercise. Pay close attention to how the exercise sounds when spoken. Is the air support strong and sufficient?

Paula Corley

is a career music educator with 19 years of

teaching experience in the Texas public school system where she tauglrt begrnning clarinet classes and developed her

is

often caused by Embouchure Movement. Use Option Three to address this problem. Start the

stops.

Inabilify to Articulate Clearly The inability to articulate clearly may be caused from tonguing the bottom lip, the roof of the mouth, or tonguing only one side of the reed. The tip of the tongue (to the top ofthe reed) takes care of articulation. Use Option One or Option Two to re-introduce tongue to reed surface. The tongue motion is the same for staccato as legato.

beginning clarinet method entitled "So You Want To Play

The Clarinet." Paula has been a featured ciinician for the Texas, Arkansas, and North Carolina Music Edgcators Associations as well as for the Texas Bandmasters and for The University of North Texas. In June, 2005 she will make her second appearance at the University

of Oklahoma Clarinet Symposium and her sixth at Indiana University's Clarinet Teaching Workshop recognized teacher and performer, Howard Klug.

witl internationaily

Currentllr Paula is Instructor of Clariiet and Music Education at Mars Hill College. She is Principai Clarinet u'ith tfre Asheville The Music Group, importers of Buffet Clarinets, and for Coda Music, developers of SMARTMUSIC intelligent accompaniment. She i, a graduute of Mississippi State Universiry (BME) and Southern Methodist University (MM), and has done postgraduate study at the University of North Texas. Her teachers include Dr. Warren Lutz, Stephen Girko, Dr. John Scott, and Dr. James Gillespie.

Lpic Opera Orchesti-a and is an educationai consultant for

Her website - w-rvw.clarinetcity.com -.targets skill development for advancing clarinetists .rnd features audio clips of student groups, a question and answer forum, conference notes and clarinet teaching materials.

Examples in this handout are from Daily Workouts for Clarinet by Paula Corley available at music retailers.

Please send questions and clinic requests

to: [email protected]

10

Articulation: Exercises to Correct and Improve Tonguing

Daily tonguing practice is essential for dweloping the ability to articulate. stsrt on the barrel and moutbpiece (F#) wuen ciagnosing tonguing problems. Errors are more apparent when yariables are reduced, The focused sound should not disappear when tonguing. Option One is a good way to introduce tonguing to beginners: OPTTON ONE

HEE.....tee

tee tee

Breath Start each r'o"r'*tilr" to establish a good sound first. White sustaining the whole note, the tip of the tongue touches the top of the reed to interrupt the whole note.

Tongue should use minimal efforl Tongue high and forward in thO mouth - close to the reed

To re'introduce tonguing to experienced students with articulation problems try Option TWo. Use the same instructions as in Opfion One.

OPTION TWO

Option Three can be used to help develop speed as well as to correct'rchewing" - embouchure movement directly related to the diitan"" oi,th" totrgue from the ieed, Ktrep the tongue as close to the reed as possible to go fastgr, Sper-d- is

OPTION THREE

Shorter Bursts of "5r' note will alss work well. Longer burstr hetp to develop enduranee. AIso See articulated patterns under Non Tonic-to-Tonic Scale pattirn examples"

TECHNICAL FACILITY AND DEXTERITY AND TECHNICAL EXERCISES

An Introduction to Technical Facility Dr. Kimberly Cole Luevano Eastern Michigan University Emphasize and reinforce CORRECT position and action from DAY ONE. While it may seem tedious, it will prevent many problems from developing. A. GENERAL ARM/HAND POSITION 1. 2. 3. 4. 5. 6. 7.

8. 9.

Shoulders relaxed. Release all tension. (shoulder tension usually causes arm/hand/finger tension.) Arms relaxed and naturally close to body. Elbows close to body. Try to pick up from elbow only as much as possible. Wrists in and down, not arched or tense. Hands as close to their ““natural”” position as possible. Drop hands to side and pull them up to see this. Let them tilt upwards slightly. Knuckles out. Prominent but not tight. Fingers: Easy ““3-way arch.”” a. No collapsed joints, no bear claws, no flat fingers. b. Pads/fleshy part of fingers cover holes, not tips. NO GRIPPING!!! Palms: Relaxed, not tense or gripping.

B. RIGHT HAND POSITION 1. Thumb: ““double grip”” on bone and side of fingernail. a. Use 1st joint bone to help place. b. Tends to end up at an angle to your clarinet, not perpendicular. 2. Index finger: at 45 degree angle to the Eb/Bb key. a. NOT HOOKED UNDERNEATH SIDE KEYS!!!!!!! b. Should hit that key just above 2nd joint and to the side of the finger. c. Motion from low Bb to RH side key Eb is a straightening out motion of the first two joints of the index finger, not a shift of the wrist. 3. Wrist rotates in and down which creates: 4. ““Rectangle”” or ““U”” shape created between the thumb and index finger, not a backwards ““C.”” 5. Knuckles out but not tight. Should detect a ““line”” slanting downward. 6. Rest of fingers fall curved. Use ring finger as guide. They should look ““natural””. 7. Pinky finger uses F#/C# or F/C key as a home key. Stays curved. Points downward. a) Let it move with the ring finger. 8. ““Line”” through knuckles goes below, not through or over the clarinet. 9. Hand tilts upwards toward the Eb/Bb side key.

C. LEFT HAND POSITION 1.

Thumb hole towards first joint of thumb. a. Thumb almost at a 45-degree angle to clarinet, not perpendicular, as it serves dual function of covering thumbhole and depressing register key. 2. Index curvature set by Ab/A keys. a. Index should be lightly touching both keys simultaneously at all times. b. Hit the Ab key automatically when you depress the A key. i. Push the index slightly further forward to help. ii. Ab to A is simply a ““straightening out”” of the finger, not a shift of the wrist. c. Rolling action from F# to Ab, A, or Bb. d. Only index finger moves for Ab, A, or Bb. Rest of fingers stay in position over keys. e. Get Ab/A keys bent slightly upwards to help. 3. Rectangle/open space/””u”” shape between index and thumb, not ““C”” shape, not pressed together. 4. Use ring finger to help guide others. It should be the least curved, then let the other fingers fall into place.

An Introduction to Technical Facility Dr. Kimberly Cole Luevano Eastern Michigan University 5.

Pinky finger stays curved, not straight. a. Points down to work keys. b. F#/C# is the home key for the pinkies. (or C#/G#) 6. Minimize wrist motion.

D. FINGER ACTION: 1. 2. 3. 4. 5.

Retain natural, 3-way curve of finger at all times. ALL FINGERS MOVE FROM THE BACK KNUCKLES ONLY. Control height above keys. Don’’t let fingers ““fly””--they’’ll lose their shape. ““Up”” snap should be equal to ““down”” snap. Let natural weight of fingers take over on return to key (““down”” snap.). Not too much pressure, NO SQUEEZING. 6. NO GRIPPING. 7. Total cleanliness and evenness. Work SLOW to FAST.

E. DEVELOPING TECHNIQUE: 1. Consider the elements that must be developed: a. knowledge of patterns i. Scales/arpeggios in a multitude of forms/patterns. ii. SLOW to FAST approach. b. finger action and height i. Use mirror to help ii. SLOW to FAST approach. 2. Speed comes gradually by working on precision and relaxation: ““By developing precision, one develops technique, but by developing technique, one does not necessarily develop precision.””

Although clarinet playing may not necessarily always involve natural body movements, it is important to study and analyse natural hand motions to adapt them to the instrument. A relaxed and natural approach will reduce the tendency to tighten the hand and arm muscles during rapid technical passages.

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While practising slow scales in front of the mirror, move each finger from the first joint (at the base of the hand) and thet rhe rest of the ._ finqer ... o-. is some\..zhal .__ a_steep or .imaoine _o..._

extremely relaxed. In thrs way the flrst finger joint will guide the rest of the finger and the natural werght of each {inger will be used to cover holes or close keys. This technique will

lf one holds out a relaxed hand and illr

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help avoid excess pressure on tone holes and keys,

ic

Continue the exercise by playing increasingly faster scales (stiil

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in front of the mirror), and vary technical pafterns (such as

and become rounded.

thirds or octaves) by lifting fwo, three, or more {ingers simultaneously,

After pradising the

Try playing various trills to test how relaxed each finger is while moving rapidly Remember to relax the arms and

three hand motions on both hands several times, hold the clarinet

shoulders as well as the fingers,

while "nainta ning the flnal. curved hand post:or- (diagram 3) Similarly, each individual finger naturally curves and should

The light feeling you will experience afler a few days of practice will grve you the impressron that each finger gently gets detached from the hand while playing, especialiy during

move accordingly on the clarinet keys.

trills,

Practise slow scales in front of the mirror, making sure the fingers do not becone stiff. extended. or slraigl-lered, At

times, this may feel as though the hands and fingers are going through complete retraining, The initial discomfort might cause you to taKe a 'short cut' and rerurn to

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MrcrtIGAI\t scHool, BAIYD and ORCITESTRA AssocIATIoN SOLO and ENSEMBLE pROFICmNCy SCALES WIND gnd MELODY PERCUSSION INSTRITMENTS Required Scale Rhythm:

Chromatic: Even Rhvthm Tefnpp: maximum crintrolled soeed Articulauon: All sluned or all tongued (adjudicato/s choice) _

Note: Proficiency examinations are cumulative, i.e., Proficienry ll includes all scales listed in both I and ll and proficienry lll includes scales listed for l, ll, and lll. All scalee must be meniorized. You are attoweo oo seconds to look over music for the sight reading part of the examination.. Upper case (B) indjcate major scates, towJr case 1u1 inoi"rt"o melodic minor, and chr. indicated chromatic. Number after scale indicates nunider of octaves. SCALES tl

Piccolo

Bb2, Eb2, F2. C1 92, c1, d2, a2,Eb chr.2

Flute

Bb2,Ebz,F2,C2

ill

Abz,G2,D2

M,E2,82,

Gb2 t#2,9#2, eb2, C

f2, bb2, e2, b2, G chr. 2

$r2

92, c2, d2, a2,Eb chr.2

Ab2, Db2, c2, D2 f2, bbz, e2, b2, G chr. 2

I.2, e2,82, cb2 g#2, eb2, C chr. 3 l#2,

Oboe

Bb1, F1, C2, c1 91, d1, a1, e1, C chr. 2

Eb1, Ab1, D2, Al c2,f'l,b2,l#1,D chr 2

Db2, Gb1, E2, 82 bb1, eb2, d2, g#1 , E chr. 2

tso ulannet

(Eb Soprano)

c2, F3, Bb2, c3 a2, d2, 93, e3, E chr 3

c2,R,b2, f#3, F chr.3,

.Alto and Bass

c2,F2,eb?,G2

(Contra.) Clar

a2, d2, 92, e2, E chr. 2

Bassoon

Bb2,F2,C2,G2

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Eb2, Ab2,D2.

Db2, Gb3, E3, 82 bb2, eb2, *2, g#2, G chr. 3

Ebi,.{b2, D1, 42

Db2, Gb2, E3, 82 bb2, eb1 , d1 , g#2, G chr 2

c2,A,b2,t#2,F chr.2 Eb2, Ab2,D2,

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Dbz,Gb2,E2,82

92, d2, a2, e2, A chr. 2

c2, f2, b2, t#2. Bb chr.2

bb2, eb2,

Saxophone (Alto, Tenor, Bari)

G1, C2, F2,Bb2 e2, al , d2, gl , C chr. 2

D2,41, Eb2, Ab1 b2, t#1 , c2, Q, Bb chr.2

d2,

uornet Trumpet

c1, F1, Bb2, c2

French Horn

a2, dl , 92,

Trombone

Eb1, Ab2,

Dl, A2

g#1, bb2, d#2, F chr. 2

El,82, Gb2, Db2

F2, Bb1, Eb1, C1 d1, 92, cl, a1, F chr. 2

Abz, Db1, c2,

M,E2,82, Gb2 t#2, d1, g#2, eb2, C chr. 3

Bb1, Eb1, Ab2.F2

Db1, Gb2, Cl, c2 bb2, eb1, e2, a2, Ab chr. 2

b2,t#2, d1, g#2, Bb chr. 2

Db1, Gb2, Cl, c2 bb2, eb1, a2, e2, Ab chr. 2

b2, t#2,

a2, d1,92, el, G chr. 2

Eb1, Ab2, D1, A2 c2, 11 , b2, f#2, Bb chr. Z

d2,&2,

Bb1, Eb1, Abz,F2 92, c1, f2, dl, F chr. 2

Db1, Gb2, Cl, c2 bb2, ebl, a2, e2, Ab chr.2

b2, t#2,

dl,

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F chr. 2

Bb1, Eb1, Abz,F2

Baritone

c1, F1, Bb2, c2

92, c1 ,

Melody Percussion

E2,82, Db2, F#2

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Tuba

Bb chr. 3

c2,t1,b2,t#2,8b chr.2

92, cl , t2,

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c2,F2,

Bb2, Eb2 a2, d2,92, c2, Bb chr. 2

t2,bbl, b1, e2,

D1

G chr.2

D1,M,E2,82 Dl, M,E2,B2 d1 , 9#2, Bb chr. 2

E1,82, cb2, Db2 eb1, bb2, C chr.2

D1, F.;., E2, 82

Ab2,Dbz,G2,A2 f2,bb2, e2, b2, G chr. 2 Chord pro. C & F l, lV, V.

g#2, eb1, bb2, C chr.2

d1 , g#2, Bb chr. 2

42,E2,B.2,F#2 I

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NOTE: Sight Reading contains some altemale clefs. There are Hom

-

bass clef, Bassoon

-

tenor clef, Trombone - altoltenor clef

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REEDS And MAINTENANCE

Selected Sources for Equipment, Accessories, Repair, Music, Etc. Charles Bay P. O. Box 3935-C Westlake Village, CA 91359 805.497.8161

Mouthpieces/barrels/ligatures/accessories

William Brannen 908 Hinman Evanston, IL 60202 847.866.7576

Repair

Timothy Clark 86 Pocono Rd. West Worthington, OH 43235-1407 614.846.4888

Repair/instruments

Eble Music Co. Box 2570 Iowa City, IA 52244-2570 319.338.0313

Music

Clark Fobes 130 Beverly San Francisco, CA 94132 415.585.0636

Repair, instruments, barrels, mouthpieces

Robert D. Gilbert 943 N. La Cienega Blvd. Los Angeles, CA 90069 310.652.4671

Instruments and accessories

International Musical Suppliers P. O. Box 357 Mt. Prospect, IL 60056 800.762.1116

Instruments/Mouthpieces/Barrels/accessories

Légère Reeds 39 Weatherup Crescent, Barrie, ONT CANADA L4N 7J6 705.735.1559 [email protected]

Synthetic Reeds

Luyben Music Co. 4318 Main St. Kansas City, MO 64111 800.2-LUYBEN (Visa/MC orders only) 816.753.7111 816.753.6879 FAX [email protected] www.luybenmusic.com

Music

Marks Music Co. 50 N. Buhl Farm Rd. Hermitage, PA 16148 412.347.7629

Instruments and accessories

Muncy Winds P. O. Box 1274 Boone, NC 28607 800.333.6415 704.963.8990 FAX [email protected]

Instruments/Mouthpieces/Barrels/accessories

ProWinds, Inc. 1400 E. 3rd Street Bloomington, IN 47401 812.333.2095 800.789.8509

Accessories

James Pyne 1672 Rushing Way Columbus, OH 43235 800.JPYNE-440

Mouthpieces, barrels, ligatures

Eric Satterlee Buttonwood Haslett, MI 517.339.1929 [email protected]

Repair/Accessories

Robert Scott 2930 Sunderland Rd. Lansing, MI 48911 517.882.9098

Repair, Barrels, Ligatures

Stanton’’s Sheet Music 330 S. Fourth St. Columbus, OH 43215 614.224.4257

Music

Frederick Weiner 9216 37th Ave. Jackson Heights, NY 11372 800.622.CORK

Instruments/Mouthpieces/Barrels/accessories

Woodwind/Brasswind 50741 US 31 North South Bend, IN 46637 800.348.5003

Instruments/Mouthpieces/Barrels/accessories

Woodwind Service, Inc. Box 206 Medfield, MA 02052 800.527.6647

Music

Clarinet Care and Maintenance Dr. Kimberly Cole Luevano Eastern Michigan University GENERALLY: 1. Keep in mind the importance of keeping your mouthpiece and reed in clean and sanitary condition. 2. Always keep pads and key mechanism dry. Water ruins pads, causes corrosion within key mechanism, and is detrimental to wood instruments. 3. DO NOT USE FORCE! If force seems necessary, it is an indication that the instrument is in need of adjustment/repair. Take it to a trained music repairman. 4. Always REMOVE reed from mouthpiece and store separately. Fine to store ligature on mouthpiece, but ALWAYS store mouthpiece with a mouthpiece cap. AFTER EACH PLAYING: 1. Remove reed, wipe excess moisture, and store in a manner which will keep the reed flat and discourage warping. 2. Remove mouthpiece and wipe clean with a clean handkerchief or soft cloth. DO NOT RUN SWAB THROUGH MOUTHPIECE REGULARLY. 3. Swab the remaining joints (bell, upper and lower joints, barrel) thoroughly. 4. Make sure to clean excess moisture out of tenon joints. 4. Check tone holes for any remaining moisture, and remove moisture accordingly. 5. Wipe fingerprints and moisture off key mechanism and instrument exterior. EVERY WEEK: 1. Wash mouthpiece in LUKE-WARM (NOT HOT——preferably on the cold side, actually.) water with a gentle soap such as Ivory soap or Castille soap. Be especially careful of the mouthpiece tip and rails——do not scratch or nick these areas in particular. 2. Check corks. Lubricate sparingly as soon as they are dry. EVERY SIX to EIGHT WEEKS: 1. Oil key mechanism wherever one metal part moves against another as on posts, hinges, etc. 2. Apply key oil sparingly. One drop is more than sufficient! 3. Prevent rusting by touching up all springs and screws that go through the head of a post (pivot screws) with key oil. 4. Wipe off excess oil carefully. Too much oil collects dust and ruins pads. Keep all lubricants off the pads. 5. Consider oiling the bore of your clarinet, particularly in dry conditions. Lubricate a separate swab with a natural oil such as almond oil. Run the oiled swab through the bore once or twice. Rub slight amounts of oil into the exposed wood on the exterior, taking care to keep the oil away from pads and key mechanisms. Daily maintenance will keep your clarinet in good working order for lengthy periods of time.

Part five

Care and maintenance habits ore on important part of music education by

lulie

DeRoche

Director of Performance Education G. Leblanc Corporation I ulie D eRoche is Leblanc' s newly appointed director of performance education. Prior to

joining Leblanc, sewed

she

for

mc,ny le(trs as coordinator of the wood-

wind department and clarinet facuhy

at De

P aul

U niq., er sity, Chic a go. She serued as acting sec' ond clarinet wirh the Chicago Symphony Orchesrra

during the 2000-2001

| !.€EF;"'

season and continues kt

perform and tour fre, quently with the CSO. In addition to her inuolu ement with numerou s chamb er and orchestral groups, she now seTves as imme-

diate past president of the International Clarinet Associntion.

M I lost of us who teach have opened

our students' clarinet cases to find broken or moldy reeds, missing screws, dirty, dusty tone holes or bent keys. Often, these problems are the very reasons that our students have trouble learning to perform well. Clarinets that are not well treated and

well maintained can cause numerous difficulties, such as lack of response,

squeaking, excessive resistance, poor key coordination and so forth. There" fore, learning to care for a clarinet prop-

erly is extremely important,

and

teaching students how to care for their instruments can create lifelong good habits. Unfortunatelv. this is sometimes a neglected aspect of instruction. I still assemble and disassemble my clarinet just as my elementary-school band director taught me, and I care for it in the way that I was taught many years ago by the greatly respected repair

artists, Bill and Linda Brannen. In this segment of Clarinet Basics,

"Fffi

-rnu t'BLANC BELL

wr N'ER 2oo3

I will

share

this valuable training. T I he method of assembling a clarinet can seem obvious, but in fact, if done incorrectly, it can be the source of many problems. Forcing tight tenons together or holding the clarinet incorrectly during assembly can cause bent keys and stuck joints. There are two important things to teach young students to keep in mind while assembling the clarinet. The first is to place the upper and lower joints together without bending the bridge key, and the second is to place

the barrel on in the right direction. I have seen young students force the joints of an instrument to do things that were not intended-and the result was not good! When placing the upper and lower joints together, allow the upper joint of the clarinet to rest in the palm of the left hand, with the lower tenon near the wrist. The front of the clarinet will be facing up, and the palm of the hand will be gently cradling the back of the joint just below the register key. The fingers will then be able to curve around the front of the joint and will press the keys so that the bridge mecha-

nism opens or lifts. This allows the student to slip the lower-joint bridge key under the upper-joint bridge key. Hold the lower joint in the right hand, toward the lower end of the joint, without excessive force on the keys or rods. Make sure that all corks are sufficiently

lubricated with cork grease. Twist the joints together in a back-and-forth motion, rather than by turning the lower joint in a circular motion. The joints should slide smoothly together, and the

rings in the front should be in line. (Instruments with the PRAG system will simply slide into proper alignment.) After putting the upper and lower joints together, twist the bell into place and then the barrel. The barrel has a

small and large end, and although it is probably obvious to you, be sure that your youngest students place the barrel on in the correct direction, with the larger side of the barrel fitting onto the upper joint. (I have witnessed young players trying to do the opposite with great effort.) Finally, place the mouthpiece on the barrel, and then the liga-

ture and reed, in that order. Remember to keep the tenons well

greased with good, clean cork grease, but do not allow too much grease to build up on the cork. Instead, wipe excess grease off the cork before applying more so that it does not get sticky. Use only the amount of cork grease that

you need in order to get a smooth, easy

connection, and do this only when it becomes difficult to slide the tenons together.

n

Uisassembly should follow the opposite order. Be sure that your student continues to hold the clarinet as during assembly, described above, raising the bridge key before twisting the joints apart. Whether playing a wood clarinet or a plastic model, it is best to disassemble the clarinet as soon as possible so that the corks do not get pressed continually, which can cause loose, wobbly tenons and eventual leaks and stuffiness. Swab each joint thoroughly with a cotton handkerchief swab or silk swab. The swab should be pulled through the

clarinet from bottom to top-or from the bell to the barrel-but should not be pulled through the mouthpiece. Make sure that all water is thoroughly removed from the tenons by wiping these areas with the swab. Remember to shake out the swab so that it is as long and flat as possible. Do not put it through the clarinet when it is in a knot. If the swab sets stuck in one of the joints, it is impoitant to take it to a good repair shop to have it removed. Never poke sharp objects into the clarinet (screwdrivers, flute rods, pencils or pens, batons), as they can scar the tone holes and inner surface of the instrument. Dry the mouthpiece by gently wiping the surface with the swab, but do not pull the swab through the mouthpiece frequently, as repeated swabbing can

Part five

Care and maintenance habits ore on important part of music education by

lulie

DeRoche

Director of Performance Education G. Leblanc Corporation I ulie D eRoche is Leblanc' s newly appointed director of performance education. Prior to

joining Leblanc, sewed

she

for

mc,ny le(trs as coordinator of the wood-

wind department and clarinet facuhy

at De

P aul

U niq., er sity, Chic a go. She serued as acting sec' ond clarinet wirh the Chicago Symphony Orchesrra

during the 2000-2001

| !.€EF;"'

season and continues kt

perform and tour fre, quently with the CSO. In addition to her inuolu ement with numerou s chamb er and orchestral groups, she now seTves as imme-

diate past president of the International Clarinet Associntion.

M I lost of us who teach have opened

our students' clarinet cases to find broken or moldy reeds, missing screws, dirty, dusty tone holes or bent keys. Often, these problems are the very reasons that our students have trouble learning to perform well. Clarinets that are not well treated and

well maintained can cause numerous difficulties, such as lack of response,

squeaking, excessive resistance, poor key coordination and so forth. There" fore, learning to care for a clarinet prop-

erly is extremely important,

and

teaching students how to care for their instruments can create lifelong good habits. Unfortunatelv. this is sometimes a neglected aspect of instruction. I still assemble and disassemble my clarinet just as my elementary-school band director taught me, and I care for it in the way that I was taught many years ago by the greatly respected repair

artists, Bill and Linda Brannen. In this segment of Clarinet Basics,

"Fffi

-rnu t'BLANC BELL

wr N'ER 2oo3

I will

share

this valuable training. T I he method of assembling a clarinet can seem obvious, but in fact, if done incorrectly, it can be the source of many problems. Forcing tight tenons together or holding the clarinet incorrectly during assembly can cause bent keys and stuck joints. There are two important things to teach young students to keep in mind while assembling the clarinet. The first is to place the upper and lower joints together without bending the bridge key, and the second is to place

the barrel on in the right direction. I have seen young students force the joints of an instrument to do things that were not intended-and the result was not good! When placing the upper and lower joints together, allow the upper joint of the clarinet to rest in the palm of the left hand, with the lower tenon near the wrist. The front of the clarinet will be facing up, and the palm of the hand will be gently cradling the back of the joint just below the register key. The fingers will then be able to curve around the front of the joint and will press the keys so that the bridge mecha-

nism opens or lifts. This allows the student to slip the lower-joint bridge key under the upper-joint bridge key. Hold the lower joint in the right hand, toward the lower end of the joint, without excessive force on the keys or rods. Make sure that all corks are sufficiently

lubricated with cork grease. Twist the joints together in a back-and-forth motion, rather than by turning the lower joint in a circular motion. The joints should slide smoothly together, and the

rings in the front should be in line. (Instruments with the PRAG system will simply slide into proper alignment.) After putting the upper and lower joints together, twist the bell into place and then the barrel. The barrel has a

small and large end, and although it is probably obvious to you, be sure that your youngest students place the barrel on in the correct direction, with the larger side of the barrel fitting onto the upper joint. (I have witnessed young players trying to do the opposite with great effort.) Finally, place the mouthpiece on the barrel, and then the liga-

ture and reed, in that order. Remember to keep the tenons well

greased with good, clean cork grease, but do not allow too much grease to build up on the cork. Instead, wipe excess grease off the cork before applying more so that it does not get sticky. Use only the amount of cork grease that

you need in order to get a smooth, easy

connection, and do this only when it becomes difficult to slide the tenons together.

n

Uisassembly should follow the opposite order. Be sure that your student continues to hold the clarinet as during assembly, described above, raising the bridge key before twisting the joints apart. Whether playing a wood clarinet or a plastic model, it is best to disassemble the clarinet as soon as possible so that the corks do not get pressed continually, which can cause loose, wobbly tenons and eventual leaks and stuffiness. Swab each joint thoroughly with a cotton handkerchief swab or silk swab. The swab should be pulled through the

clarinet from bottom to top-or from the bell to the barrel-but should not be pulled through the mouthpiece. Make sure that all water is thoroughly removed from the tenons by wiping these areas with the swab. Remember to shake out the swab so that it is as long and flat as possible. Do not put it through the clarinet when it is in a knot. If the swab sets stuck in one of the joints, it is impoitant to take it to a good repair shop to have it removed. Never poke sharp objects into the clarinet (screwdrivers, flute rods, pencils or pens, batons), as they can scar the tone holes and inner surface of the instrument. Dry the mouthpiece by gently wiping the surface with the swab, but do not pull the swab through the mouthpiece frequently, as repeated swabbing can

to dry on the mouthpiece

can warp, which will

make them play badly in very little time. However, reeds left floating in the case will most certainlv be damaged.

To protect reeds, store

them in a reed guard of some kind that will keep the reeds flat. Wet reeds kept in the paper cases

or boxes in which

they

in good playing shape, as they will not be able to dry in a flat position. A good reed case will be made of a hard material (plastic or with a glass Aboue: IJ sing a needle oiler, apply a small drop of key oil plate), will protect the tip 'With the left hand, of the reed and will keep where the rods meet the posts. Left: were sold will not stay

the reed held securely on a drv. flat surface. The clarinet should be kept free of dirt and grime by dusting under the keys with a soft brush on a regular basis. To keep keys moving efficiently and noiselessly, about once a month, apply

depress the upper-joint keys to raise the bridge mechanism.

actually change the mouthpiece's delicate inner dimensions. Approximately once a week, run tepid water through the mouthpiece, protecting the cork as much as possible. To remove white deposits, soak the tip of the mouthpiece

in lemon iuice.

Remove all water from tone holes by using pad paper. (Long ago we used cigarette paper. The same paper is now

available as pad-drying paper so that young students may get it easily from music stores.) Drying the clarinet effectively will keep it clean and will help prevent a wood-bodied instrument from cracking. Teaching this to students who have plastic clarinets will help ensure that they continue to dry their instru-

ments thoroughly when they eventually step up to wood.

M. l'lake

sure that your youngest students

know how to place the parts of the instrument back into the case correctly.

The upper and lower joints must fit into the case in the correct direction in order for the case to close properly, and

the case should never be forced shut like an overstuffed suitcase. lf the pieces are in the case in their proper positions, the case should close securely

but easily. The mouthpiece should be placed in the case with the ligature on it, and then the mouthpiece cap should be

placed over both, with care being taken not to nick or crack the facing of the

mouthpiece by hitting it with the cap. (I prefer plastic caps for this reason.)

It

is best to take the reed off the mouthpiece before storing it. Reeds left

a small drop of specially formulated key oil where the key rods meet the posts. Be sure all dirt is removed be-

fore applying key oil. Use a needle oiler, and take care that no oil comes into contact with the plastic body of student

instruments. Check to see that the screws are in place and have not twisted themselves out of the post. Lost screws will mean lost keys. If the screw is too far out, tighten it with a small screwdriver un-

til it

is level with the post, but do not overwind the screw, as the key may bind. If in doubt, seek out a qualified repair person to fix, maintain and adjust screw

tensions.

Wood.n clarinets are sometimes subject to cracking, a situation we all hope to avoid. Cracking can occur if part of the wood absorbs moisture and expands while other sections are too drv: the difference in pressure may cause a crack. The same can be said of temperature. If you blow hot air through a cold instrument, the temperature difference can cause the bore to expand while the outside remains cold and contracted. Either way, the pressure on the wood is inconsistent, and cracking is possible. (For this reason, never use a wooden instrument on the marchine

field.) Cracks can be repaired, remember, so don't panic. Wood is a material that

changes over time and

with

fluctua-

tions of humidity and weather. Therefore, the best way to avoid cracking is to try to maintain consistency in the wood's temperature and moisture level.

Keep the instrument as dry as possible, especially when placing it into the case after playing; warm it up slowly; keep it stored away from heat or cold sources. If the tenon rings are loose, the wood has become too dry and has

shrunk. If the joints are stuck, the wood has expanded. Make sure you take your instrument to a qualified repair person right away to solve these problems be-

fore cracking occurs.

n

Une of the most lrequent questions I receive concerning maintenance is whether or not to oil the bores of woodbodied instruments. The answer is not

I

have never oiled my clarinet I have never had a crack. However, some people have a body chemistry that causes the clarinet bore to dry out considerably. If your instrument has a very dry bore, it is a good idea to oil it. Do this only during cold months (when your heating system dries the air) or if you easy.

bores, and

live in a very dry climate. To oil the bore, place a few drops of bore oil on an old swab and pull the swab through the instrument. The important thing is that if you do it once, you must then do it regularly-once every two weeks or so during the winter months in cold in very dry cli

climates, or more often mates.

Do not use anything except bore oil that you find in music stores, which is formulated from light mineral oils that will not turn rancid. Oiline the bore will not affect your clarinei's tone or fesponse.

Finally, make sure that your students never stand a clarinet on the floor by the bell (unless, of course, they have a clarinet peg), lay it on a music stand, leave it on an unstable chair or lying on the floor, carry it through the halls without regard to protecting the mouthpiece from hitting the walls or their friends,

leave the mouthpiece cap off while waiting in line to take an all-state audi

tion or leave of the case.

it

unattended-in or out

Teach every student to care for and It is an instrument, not a toy, and deserves good

protect his or her clarinet.

treatment and respect. lf students believe they are in possession of a precious object, they

will learn to value it,

and they will value the work they do with it all the more. E

'ffi IHE LEBLANC BELL

WINTER 2OO3

TEACHING BEGINNERS and GENERAL PEDAGOGY

CLARINET STUDENT QUALIFICATIONS AND APTITUDES 1. Student must be physically large enough to hold the instrument with proper hand positions. a. Must cover holes without straining. In general, students who are too small tend to develop poor hand position which can become extremely difficult to correct. Consequently, they progress more slowly and often become discouraged. 2. Any student with normal teeth, lip, and chin formation can learn to play successfully. a. Crooked teeth can be overlooked or compensated for if not too severe. b. Braces may lead to initial embouchure problems which can usually be compensated for and corrected later. c. Thicker or thinner lips pose no problems. d. Overbite and underbite can be compensated for. (Some even prefer overbite!) 3. A double-jointed student is likely to achieve more success on an instrument requiring less technical facility (such as brass instruments or percussion.) 4. Steady aptitude can often be determined by the success of the student in producing a steady, natural tone. This should be clear, strong, and sustained for five to ten seconds. 5. The clarinet is the most common beginning woodwind instrument. Once a student develops facility on the clarinet, a student can easily transfer to other woodwind instruments (saxophone, bassoon, oboe) without many difficulties.

CHECKLIST FOR ASSEMBLY (Frederick Westphal) Observe the student in the operation of assembling and disassembling the instrument and check the following items. If any mistake is made, the entire process should be repeated until perfect. Yes No 1. Were corks examined to see if they were well greased? 2. Upper joint held properly? 3. Lower joint held properly? 4. Bell joint held properly? 5. Barrel joint/neck held properly? 6. Mouthpiece held properly? 7. Bridge keys properly aligned? 8. Flat part of mouthpiece properly aligned? 9. Ligature placed on mouthpiece before reed? 10. Reed placed correctly on mouthpiece? 11. Ligature tightened to the proper degree? 12. Parts assembled in the correct order? 13. Parts disassembled in the correct order? 14. Parts placed properly in case? 15. Mouthpiece cap in use?

Comments

CHECKLIST FOR HOLDING AND HAND POSITIONS (Frederick Westphal) The following list of items provides a thorough check of holding positions and hand positions, and is limited to the seated positions for all instruments. The check should be performed while the student is playing, preferably when he is not aware that the check is being made. Any items which are checked ““NO”” should be corrected, with the deviation explained to the student, what effect it has on his/her playing, and why the correct position is important. Students make a more serious effort to correct mistakes if they thoroughly understand the reasons for them. HOLDING POSITION YES

NO

Comments

YES

NO

Comments

1. Instrument in center of body? 2. Angle with body correct? 3. Head up/level? 4. Shoulders back and relaxed? 5. Elbows relaxed and free? 6. Height of music stand correct? 7. Body posture good? 8. Feet in place?

HAND POSITIONS 1. Right thumb contacting thumb rest properly? 2. Left thumb at diagonal across instrument? 3. Tip of left thumb touching register key? 4. Fingers naturally curved? 5. Fingers across instrument at proper angle? 6. Right pinkie finger touching home key? 7. Left pinkie finger touching home key? 8. Thumbs/index fingers form a ““U””? 9. Wrists in and down? 10. Left hand index roll to ““A”” key? 11. Register key operated by vertical movements of the first joint? 12. Left side g# played with bottom of straight finger? 13. Right hand kept in position when index finger plays a side key? 14. Guide position consistently maintained? 15. Pads/balls of fingers covering/closing holes?

Squeaks: The Ever Present Danger Keith Lemmons The University of New Mexico

For clarinet and saxophone students, there is almost everyday occurrence of squeaking. It seems single reed players have this as a built-in nemesis and an ever-present possibility. We often try to blame the reed as the culprit, but the cause of the squeak is usually the player. Remember to consistently use embouchure pressure, throat position (voicing), breath support, and tongue (articulation) to maximize control and enhance the vibration of the reed. If squeaks are common, look for these situations first: a. Any change or fluctuation of the embouchure. b. Not enough tension with the lips, especially in the corners. c. Too much tension/upward jaw pressure against the reed. d. Overblowing OR Lack of adequate breath support. e. Overall tightness within the oral cavity or throat. f. The angle of the clarinet is wrong. (Remember, it should only be 30 to 45 degrees at the most.) g. Improper tongue placement. Tongue should be slightly arched, articulation should be almost tip of tongue to almost tip of the reed and LIGHT. h. Improper covering of tone holes with fingers. Be sure to use the fleshy part of the fingers. If none of these seem to be the problem, check the reed. Remember that the reed can be very unpredictable, and the way it responds depends on weather, humidity, and temperature. The reed must be adequately soaked with water before playing, preferably 3 minutes or so of soaking in water. Make sure the reed is not warped and make sure the tip is flat as well. Also, consider checking for cracks, chips or a tip which is too thin. The reed may also be too hard……if it is, everything will be hard to control. If squeaks STILL occur, consider: a. leaks in the pads/poor pad seating. b. bad tenon corks. c. malfunctioning ligature, bent, too big, or too small. d. tuning problems: Is the clarinet pulled out too far at any/each joint? Try to be aware of the causes of your squeaks, and gradually, they will disappear.

Holding position

Eb Soprano Clarinet Same as Bb

Alto Clarinet Same as Bb

Posture

Same as Bb

Similar to Bb. Check peg height/neckstrap adjustment.

Hand Position

Similar to Bb but tone holes closer.

Key mechanism

Same as Bb.

Similar to Bb but tone holes farther apart. Extra key for low Eb and key mechanism for ½ hole. Check for bridge between bell and lower joint.

Assembly

Same as Bb but body consists of only one piece. Smaller than Bb.

Embouchure

Use Eb reeds or cut Bb reeds at butt of reed. Same as Bb.

Written pitch

Same as Bb.

Same as Bb but body typically only in one piece. Larger than Bb. Make certain to have enough mp/reed inside mouth. Use alto clarinet reeds or alto sax reeds. Similar to Bb but a bit less firm. Same as Bb.

Sounding pitch

Written C sounds a m3 above.

Written C sounds a M6th below.

Voicing/Oral Cavity

Similar to Bb. Sometimes necessary to imagine more ““ah”” than ““hee.”” Same as Bb.

Arched, focusing tongue still necessary, but tongue likely not quite as high. Same as Bb but use

Mouthpiece

Reeds

Altissimo

Bass Clarinets Modified from Bb due to angle of neck of bass clarinet. Player should bring bass clarinet to self, not self to bass clarinet. Check height of peg/neckstrap. Similar to Bb but tone holes farther apart. Minimum extra key for low Eb (and down to low C possible.) Tone holes covered. ½ hole mechanism. Check bridge keys. Same as Bb but with low peg, neck instead of barrel. Larger than Bb. Make certain to have enough mp/reed inside mouth. Use bass clarinet reeds or tenor sax reeds. Similar to Bb but bit less firm. Same as Bb. Bass clarinet parts sometimes written in bass clef. Written C sounds an octave and a step below. Arched, focusing tongue still necessary, but tongue likely not quite as high Same as Bb but use

Articulation Breath Support/Air Use

Different tuning considerations. Listen carefully. Same as Bb. Similar to Bb.

½ hole feature. Think ““hee”” as for Bb. Same as Bb. MORE air than Bb, less resistance.

½ hole feature. Think ““hee”” as for Bb. Same as Bb. MORE air than Bb, less resistance.

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Clarinet Method Books Beqfutiuklgtermedirte

lryeli

Clarinct Student Books 1,2, & 3 Enjoy Playing the Claringt Clarinet Msthod The Complete Clarinel Player Books The Shrdent Clarinetist Books 1 & 2 Yamata Clarinet Student A Tnne aDay Books I,2,&3 Tunes for Clarinet Technique Internediate Method for Clarinet

l&2

Daily Excrcises and Scales for Clminet

Fred WeberlRobert Lowry @elwin) Ruth Bonefti (Ordor$ George Waln (Warner Bros.) Paul Harvey (Wise Publications) Benjamin Spieler (Player press)

JobnKinyon(AIH) C. Paul Herftrth @oslon Music Co.)

tselwin

Skornica/lr{illo (Rubank) G. Pares

Ailvrnced Eigh School [.€vd: Advanced Method for Clarinet Melodious and hogressive Studies Book I &2 26 Studies for the Clarinet Clarinet-Scales and Arpcggios Modern Coune For the Clarinet Scales and Arpeggios Artistic Studies from the French fthool (Ro.rj noot I

Artistic Studies from the lalian School (Cavallini) Shrdies from the Gernan School (Baennann) Foundation Studies for Clarinet @aermann III) Celebrated Method for Clarinet The Progressing Clarinetist

Artistic

The Advancing Clarinetist

$unnleqeptarv Method Bof *ti

Gower/Voxman (Rubank) David Hite (Southern)

Cyrille Rose peduc) A\.rahm Galper@oosey & Hawles) James Collis (Ilenri Elkan Music) David Flite (Southenr) David Hite (Southem) David Hite (Southem) David Hite (Southern) H. Klose (Carl Fischer) Leon Lester (Carl Fischer) Leon L$ter (Carl Fischer)

Essential Clarinet Techniquc Stntlies and Melodious Etudes for Clainet Section Studies for B-flat Clarinet First Book of Practical Studies for Clarinet Second Book of.Practical Studies for Clarinet

Nilo Hovey

Day Winning Rhythms Rhythmic Training

Belwin Mills Edward L. Ayola Robert Star€r (MCA Musie)

A Rhythr

a

Melodic Etudcs for Beginniug Clarhet Technical Studies for Beginning Clarinet Development of the Altissimo Rcgister for ClarinetThe NewExtended Wor{ring Range forClarinet Clarinet Handbook ClrinetNste Speller \ 60 Rambles for Odd Meter Enrdes Odd MeterDuets

Clarinet

Major and Minor vol. 24 wlCD Gsttrng' it Together

vol.2l wlCD

John Davies & Paul Hanis (Fahr Mirsic) Robert Lornry Nilo Flovey NiIo Hovev

Norman Heim

NomranHeim Norman Heim

Iklmen Oppermsn Norman Heim Fred Weber Ltnn Lestbr Everet Gates dv6retGafes Janey Aebenold Jamey Aebusold

Solo Repertoire Ep4nning.Intefmcdirte Level: Ancient Minuet Arioso from CantataN. 156 Chansonette

Noctrme Romance Sonata in D Eve,ning in the Country When the Satins Go Marching In Serenade Bmken Reed Blues (unnacompanied)

Dixie Pixie Chaoson Modeme Chrysalis Aria Caatando Menuetto K.334

Timepigcg Piece in G minor Wess€x Pasorale

Little Serenad€ Paerandthe Cat Clarinata Pepperino Concert Caprice Tom Sawyer Suite

Clarinetto Arioso Famous Melodies Famous Melodies Leonad Bcrnstein for Clarinet

EngliS Folk Songs for Clarinet Selected Clarinet Solos

Album for Clarinet and Piano

Arman/tlite (Southern) J.S. Bach (Carl Fischer)

A. Barret (Rubank) L. Bassi (Rubank) J. BeckerA/oxrnan @ubank) C

BartoM{srris (Ludwig) Forrest L. Buchtel (Neil A. K,ios)

Fonest L. Bushtel (Neil A. Kjos) Paul Harvey (Cool Music) Paul Harvey (Cool Music) Hovcy (Belwinl G. Langenus (Carl Fischer) Hovey @elwin) Mozart Eubank) Leonie Niehaus (Kendor Music) Pieme (Southern) Stooks (Southern)

Purcell/Worlcy &udwig) ProkotrevlFms€r Whihey (Spratt) R M. Endresen(Rubank) James Collis @oosey and Hawkes) Wiltied Berk (Anton Benjamin) Rossini/Cowles {Ricordi)

Puccini/Cowles (Ricordi) Bernsteix/Elliot @oosey and Hawkes) Wise Publication (Dorsey Brorhers Music) Amsco {Amsco Publishing) Grainger (Schirmer)

Advanq.ed Hig$ School Lcvel;

Adagio Scene

andAirop. 82

.Cantilene

Adagio and Taraatella Festival Solo Tom Sawyer Suit€ Sonata Petite Piece Fantasy $uite 5 Bagatelles

Baermann (Schirner) Bergson (Rubank) L. Cahuzac Cavallini arr. Hite (Carl Fiscber) Collis (Boosey and Hewkes) Ccllis @oosey and Hawkes) Danzi (Scbott) Debussy alr. Hite (Irubl?) lrnhill (Boosey and HawkesJ Finzi (Boosey and Hawkcs)

Phailasy Pieees op.43

Gade (Souftern)

Fantasie

Gaubert (Southenr) Gaubert (Southefn)

Allegretlo Lanento et Tarantclle

&C Collection

Beethove,n axr. Webster (Schirmer)

Grovlez (Leduc)

Jazzy Clarinet vol. Concerto in E-flet Duo Concertante

| &2

Canmnetta op. 19 Solo de Concours Flight of tbe Brnblebee Fantasie Pieces Concedo no. 3 in B-flatMaior

Corcertino Sonatina

Variadons Sonste

Concertino Concerto no.

I in fminor l@jor

Concerto no. 2 in E-flat

Variations op. 33 Grand Duo Concsrtante Sonatine

Paul Harvey Krommer (Soutbeor)

Milhaud (tcduc) G. Pieme (Rubank, Southern) Rabaud (Southern) Rimslqy-Korsa&ov (Sartorella) Schumann (Schirmer) Carl Stamift (Peten) Tatini/Jacob (Schirmer) Jarres Walker (Schirmer) Weber (Schimrer) Wanhal Qnternational) Weber (Intemational) Weber $nternational) Weber (tntcrnational) Weber (Schirmer) Webcr (Schirmcr) Jaromir Woinberger (Carl Fischer)

Splo Reoertoirc Comoilrtiqps/Co4ectign$l

Mashrworks for Clarinet and Piano The Recital Cladnetist Sixteen Grand Solos forClarinet Soloist Folio for B-flst Clarinet and Piano Solos

fot thc Clarinet Player

ed. Eric Simon (Schinner)

Armato (Carl Fischer) arr. Booade (Southern) Rubank ed.

.

{rthur Christman (Schirmer)

Fmtastic Faudliar Folk Songs Concert and Contest Collcstion for B-flat Clarinet French Pieces for Clarinet and Piano €lessig Festival Solcs for Clrinet Vol. 1 &Z Clarinst Eluets

edDonaGilliao snd MizyMcCrskitt (Mel Bay)

Clsiwt ftrcert Clrinct Solos

ed. arr. Pamela Weslon ed: an Thea King (Chester Music)

Pieces

Joplin Ragtim€

Albumfor Clarinet Six Stdies in English Folk Song fthumann for Clarinet Satie Album

Feldstein/O'Railly H. Voxman (Rubank)

sd. William Eisenhauer

(dted)

an. Colin Cowles (Fentone) Grainger (Schirmer) Vzughn-Wiiliam (Stainer & BelVcalaxy)

King

Satie

Trangposine Solo Litenturc for Chrinet in r. There is guite a bit of seaodard solo and orcMal reprertoire uaitten for the clarinst in A. [.fo$ intermediate ancl possibly advanced high school players would not yet own this instrlment. The problem ttlat could arise ir that the transposition from orc to the other can bo confirsing and cbaltenging fol the yoiyg or inexperienced fiansposing player.For cxanple, in order tripJay in concc* B-flat &c A clarinet setslo Blay in C Major and the Fflat elaringt would have to play in B Major. The B-flat clarinetist will have to dwelop the skill oftransposing down a 6atgjep which can get quite messy when fast tempos and accidentals arc involved, not to mention some of the technioal challenges that could arisc from awkward key signatures. This is not mcmt to discourage the clarinetist fronn developing this skill. This is actuaily sonething thery sboutd have the ability to do dong with e ftnsposition as they maturc into highly advaaced clarinetists. Most