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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. 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! 2. 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. 3. 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. 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.
2. 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.
3. 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! 4. 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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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.
5. 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 Depth Cover Body Glow Resonance Edge Richness Brilliance Intensity Mellowness 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. 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.
2. 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.
3. 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.
4. 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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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.
3. 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).
4. Have several reeds to choose from and rotate those reeds instead of playing one constantly. 5. Remove the reed and store it each time you play rather than leaving it on the mouthpiece! 6. 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:
Not Enough Mouthpiece Inside the MouthIf the sound on the barrel and mouthpiece is unfocusedand below F#, take in more mouthpiece until the pitchcomes up. Too little mouthpiece inside the mouth canalso produce sharp pitch among more advanced players.Too much mouthpiece inside the mouth will causesqueaking.
Tongue position istoo low
The tongue should be high(HEE) and forward insidethe mouth.
Top Teeth are not Gripping theMouthpiece Firmly Enough
This is common among beginners andyounger players. The clarinet embouchure isfirm and the student must learn to not let themouthpiece move around inside the mouth.
Corners are Too RelaxedThe comers play a vital role in a correctembouchure. Tell the student to bringcorners down and in, again much like the'straw' analogy or as in saying 'ooh.,Relaxed corners contribute to spread tone inthe middle resister.
Bottom Lip is Too LooseTell the student to firm the bottom lip. Avoidsaying "make your chin flat" as this mayencourage a 'smiley-face' embouchure whichcan lead to a thin, sharp sound. Use theanalogy of drinking a milkshake through astraw or putting on chap stick.
Fast AirStudents with air support problems are oftenusing slow air instead of fast air. The resultmay be a"fuz4" sound due to lack of air speedand a relaxed diaphragm. The clarinet gets itsbest sound with quickly moving air.
. Not Enough AirAir is'always an issue. Let students practiceeverything at forte for one week. Tell them toblow until they feel resistance from the instrument.Students may be surprised to find that they havenever felt 'baek,pressure' from the clarinet, a_
necessary bi-product of sufficient air.
Improperly Shaped Air StreamA slow, weak air stream does not have the sameshape as a fast air stream. Use the analogy of agarden hose. Describe the shape and speed ofa'jet' setting on a hose nozzle.
SPOTLIG|{T ONWOODWINDS / LES BOIS DE PLUS PRES
[lorinel Secrets
Michdle Gingros
he following excerpts from Michdle Gingras'new book, ClarinetSecrets - 52 Petformance Strategies for the Advanced Clarinetist(with a CD) are reprinted here by kind permission of Scarecrow
Press in Toronto.
On Intonation: Secref 13 - The Chin ExerciseEmbouchure is crucial to producing a good tone. Generally, clarinetstudents are taught to flatten the chrn and,wrap the lips around themouthpiece in an "o" shape. While most muscies are easily controlled(such as fingers, cheeks, and tongue), the chin muscles are more dfficultto move independently. Before being able to move the chin muscles withease and precision, one must be aware of how these muscles work.
Try this exercise: while keeprng yow jaw firmiy closed, tr"y movingthe chrn muscles up and down. The upward motion is naturally easierConcentrate on stretching the chin's skin and muscles as much as possiblewithout movtng the closed jaw This exercise should be done until controlof the chin muscles is easily achieved.
Figure 1. Moving the chin muscles up and Q,gwn. .
The reason for shetching the chin muscles is that the reed needs to vibrateagainst a firm surface, i.e., the iower lip and teeth, so its vibrations will notbe hindered or exaggerated. A soft chin embouchure allows the lower hpto become too loose and makes the reed vibrate uncontrollably, resultingin a flat and colourless tone. The chin might also be touching the reed,therefore dampemng the sound. The upper teeth should rest near the tipof the mouthoiece.
Figure 2: Left: The chin is stretched (correct). Right: The chin isrelaxed (incorrect).
Figure 3, Example A ftelow) illusn'ates a proper angie. The lower Iipshouid lie near where the curve between the mouthpiece and the reedstarts. This avoids squeezing the reed against the mouthpiece, causilgthe sound to choke (examFle B). A helpfirl hint is to gent$ push the rightthumb (under the thumb rest) toward the upper teeth in order to avoid the
tendency to bite while playing in the upper registers.
Figure 3: Proper (A) and improper (B) placement of the lower lipagainst the reed.
A good and effective clarinet embouchure permits control of the mostsubtle colour changes in the sound. A correct distribution of lip, jaw,and chin tightness (50% upward, 50% downward) is shown in Figwe 46elow).
Att\tlA
{.-}4=,-,n>/l
A+rg2(-,(t
+
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IJ+/v/\rl\/ \ { ., \l_*u*_\tr '1
^\ I
\ [5d% ,l\- ?k -'/t \, / 150./\Y/
Figure 4: Correct distribution of lip, jaw, and chin tightness.
As the lips follow the contour of the mouthpiece to prevent air leaksand to equalize the embouchure, the chin is stoetched downward. Notethe opposition ofpressure at the * sign; the resulting tersion rs the keyto a resonating tone. The goal is to find an ideal middle ground wherethe chin's tension is divided equal1y. Diligent practice should detenninethe best diskibution ofpressure on the reed for each individuai. Bitingtoo much narrows the tone and gives it abwzy qualify, while relaxingtoo much takes the centre of the tone away and adds an aii noise to thesound.
Venls conodiens . C0n0di0n Winds . Fol/ouiomne 2005 H,$
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.
o A'squeaking'higb D is
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 Dr. Kimberly Cole Luevano Eastern Michigan University
2. 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. 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.
2. 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.
3. 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.
4. 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 Dr. Kimberly Cole Luevano Eastern Michigan University
5. 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.
6. 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. Embouchure does need to be firm, though NO BITING/PINCHING. 2. 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. Not fast enough air stream. Results in: a. subtones. b. pinching reed
2. Not focused enough air stream. Results in: a. subtones. b. pitch problems.
3. Lower lip �“mushy�”. a. no altissimo register: subtones. b. pitch flat.
4. Biting: too much upward lower lip pressure. a. pitch sharp. b. overblows altissimo notes. c.
C. FINGERINGS: 1. Many fingerings are available for altissimo notes. 2. Listed below are some of the most common choices. 3. 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-u-mo 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. No anchor tonguing. 2. 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. No bottom lip/embouchure movement. 2. No throat movement. Indicates tongue is moving to the reed from too far away in the mouth
OR tongue is in incorrect position. 3. No jaw movement.
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 ArticulationA bad articulated sound is generally caused byexcessive motion of the tongue. Most students trytoo hard and move the tongue too much.
Use Option One to re-introduce a more gentlemotion of tongue to reed surface.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 tonguehigh and forward inside the mouth.
o Altemate speaking the exercise with playingthe exercise. Pay close attention to how theexercise sounds when spoken. Is the airsupport strong and sufficient?
Scooped or Spread Sound onArticulated Notes
A scooped or spread sound on articuiated notes isoften caused by Embouchure Movement. UseOption Three to address this problem. Start theexercise at the absolute fastest speed that thestudent can go. It is very difficult to move theembouchure at fast speeds. Over time, workbackwards to slower speeds until movementstops.
Inabilify to Articulate ClearlyThe inability to articulate clearly may be caused fromtonguing the bottom lip, the roof of the mouth, ortonguing only one side of the reed. The tip of thetongue (to the top ofthe reed) takes care ofarticulation. Use Option One or Option Two tore-introduce tongue to reed surface.
The tongue motion is the same for staccato as legato.Paula Corley is a career music educator with 19 years ofteaching experience in the Texas public school system whereshe tauglrt begrnning clarinet classes and developed herbeginning clarinet method entitled "So You Want To PlayThe Clarinet."
Paula has been a featured ciinician for the Texas, Arkansas, and North Carolina Music Edgcators Associations as well as for theTexas Bandmasters and for The University of North Texas. In June, 2005 she will make her second appearance at the Universityof Oklahoma Clarinet Symposium and her sixth at Indiana University's Clarinet Teaching Workshop witl internationailyrecognized teacher and performer, Howard Klug.
Currentllr Paula is Instructor of Clariiet and Music Education at Mars Hill College. She is Principai Clarinet u'ith tfre AshevilleLpic Opera Orchesti-a and is an educationai consultant for The Music Group, importers of Buffet Clarinets, and for CodaMusic, developers of SMARTMUSIC intelligent accompaniment. She i, a graduute of Mississippi State Universiry (BME) andSouthern Methodist University (MM), and has done postgraduate study at the University of North Texas. Her teachers includeDr. Warren Lutz, Stephen Girko, Dr. John Scott, and Dr. James Gillespie.
Her website - w-rvw.clarinetcity.com -.targets skill development for advancing clarinetists .rnd features audio clips of studentgroups, 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 teeBreath 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 efforlTongue 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 movementSper-d- is directly related to the diitan"" oi,th" totrgue from the ieed,Ktrep the tongue as close to the reed as possible to go fastgr,
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. Shoulders relaxed. Release all tension. (shoulder tension usually causes arm/hand/finger tension.)
2. Arms relaxed and naturally close to body. 3. Elbows close to body. Try to pick up from elbow only as much as possible. 4. Wrists in and down, not arched or tense. 5. 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. 6. Knuckles out. Prominent but not tight. 7. 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!!!
8. Palms: Relaxed, not tense or gripping. 9.
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. Retain natural, 3-way curve of finger at all times. 2. ALL FINGERS MOVE FROM THE BACK KNUCKLES ONLY. 3. Control height above keys. Don�’t let fingers �“fly�”--they�’ll lose their shape. 4. �“Up�” snap should be equal to �“down�” snap. 5. 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 notnecessarily always involve naturalbody movements, it is important tostudy and analyse natural handmotions to adapt them to theinstrument. A relaxed and naturalapproach will reduce the tendency totighten the hand and arm musclesduring rapid technical passages.
lf one holds out a
relaxed hand andbends the wrist asillr rctr:tcd rioht it ic
easy to see now tnefingers naturally curveand become rounded.
After pradising thethree hand motionson both hands severaltimes, hold the clarinetwhile "nainta ning the flnal. curved hand post:or- (diagram 3)
Similarly, each individual finger naturally curves and shouldmove accordingly on the clarinet keys.
Practise slow scales in front of the mirror, making sure thefingers do not becone stiff. extended. or slraigl-lered, Attimes, this may feel as though the hands and fingers are goingthrough complete retraining, The initial discomfort mightcause you to taKe a 'short cut' and rerurn to you' previoushand and finger positions; however, slow and patient workwrll y eld a much more flu d technicue and perhaps Drevertfuture injury,
iA,A/ 47{ t.FIWhile practising slow scales in front of the mirror, move eachfinger from the first joint (at the base of the hand) andimaoine thet rhe rest of the finqer is some\ zhal a. _o..._ ._ ... o-. .. .__ _steep orextremely relaxed. In thrs way the flrst finger joint will guidethe rest of the finger and the natural werght of each {inger willbe used to cover holes or close keys. This technique willhelp avoid excess pressure on tone holes and keys,
Continue the exercise by playing increasingly faster scales (stiilin front of the mirror), and vary technical pafterns (such as
thirds or octaves) by lifting fwo, three, or more {ingers
simultaneously,
Try playing various trills to test how relaxed each finger is
while moving rapidly Remember to relax the arms andshoulders as well as the fingers,
The light feeling you will experience afler a few days ofpractice will grve you the impressron that each finger gentlygets detached from the hand while playing, especialiy duringtrills,
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MrcrtIGAI\t scHool, BAIYD and ORCITESTRA AssocIATIoNSOLO and ENSEMBLE pROFICmNCy SCALES
WIND gnd MELODY PERCUSSION INSTRITMENTSRequired Scale Rhythm:
Chromatic: Even RhvthmTefnpp: _ maximum crintrolled soeedArticulauon: 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 lllincludes scales listed for l, ll, and lll. All scalee must be meniorized. You are attoweo oo seconds to look over music for thesight 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 illPiccolo Bb2, Eb2, F2. C1
92, c1, d2, a2,Eb chr.2Abz,G2,D2f2, bb2, e2, b2, G chr. 2
M,E2,82, Gb2t#2,9#2, eb2, C $r2
Flute Bb2,Ebz,F2,C292, c2, d2, a2,Eb chr.2
Ab2, Db2, c2, D2f2, bbz, e2, b2, G chr. 2
I.2, e2,82, cb2l#2, d\ g#2, eb2, C chr. 3
Oboe Bb1, F1, C2, c191, d1, a1, e1, C chr. 2
Eb1, Ab1, D2, Alc2,f'l,b2,l#1,D chr 2
Db2, Gb1, E2, 82bb1, eb2, d2, g#1 , E chr. 2
tso ulannet(Eb Soprano)
c2, F3, Bb2, c3a2, d2, 93, e3, E chr 3
Eb2, Ab2,D2. Mc2,R,b2, f#3, F chr.3,
Db2, Gb3, E3, 82bb2, eb2, *2, g#2, G chr. 3
.Alto and Bass(Contra.) Clar
c2,F2,eb?,G2a2, d2, 92, e2, E chr. 2
Ebi,.{b2, D1, 42c2,A,b2,t#2,F chr.2
Db2, Gb2, E3, 82bb2, eb1 , d1 , g#2, G chr 2
Bassoon Bb2,F2,C2,G292, d2, a2, e2, A chr. 2
Eb2, Ab2,D2, Mc2, f2, b2, t#2. Bb chr.2
Dbz,Gb2,E2,82bb2, eb2, d\ #\ Bb chr. 3
Saxophone(Alto, Tenor, Bari)
G1, C2, F2,Bb2e2, al , d2, gl , C chr. 2
D2,41, Eb2, Ab1b2, t#1 , c2, Q, Bb chr.2
E2,82, Db2, F#2d2, g#1, bb2, d#2, F chr. 2
uornetTrumpet
c1, F1, Bb2, c2a2, dl , 92, e1 , G chr. 2
Eb1, Ab2, Dl, A2c2,t1,b2,t#2,8b chr.2
El,82, Gb2, Db2d2, g#2, eb1, bb2, C chr.2
French Horn F2, Bb1, Eb1, C1d1, 92, cl, a1, F chr. 2
Abz, Db1, c2, D1t2,bbl, b1, e2, G chr.2
M,E2,82, Gb2t#2, d1, g#2, eb2, C chr. 3
Trombone Bb1, Eb1, Ab2.F292, cl , t2, dl, F chr. 2
Db1, Gb2, Cl, c2bb2, eb1, e2, a2, Ab chr. 2
D1,M,E2,82b2,t#2, d1, g#2, Bb chr. 2
BaritoneBass Clef
Bb1, Eb1, Abz,F292, c1 , P, d1 , F chr. 2
Db1, Gb2, Cl, c2bb2, eb1, a2, e2, Ab chr. 2
Dl, M,E2,B2b2, t#2, d1 , 9#2, Bb chr. 2
BaritoneTreble Clef
c1, F1, Bb2, c2a2, d1,92, el, G chr. 2
Eb1, Ab2, D1, A2c2, 11 , b2, f#2, Bb chr. Z
E1,82, cb2, Db2d2,&2, eb1, bb2, C chr.2
Tuba Bb1, Eb1, Abz,F292, c1, f2, dl, F chr. 2
Db1, Gb2, Cl, c2bb2, ebl, a2, e2, Ab chr.2
D1, F.;., E2, 82b2, t#2, d1 , g#2, Bb chr. 2
Melody Percussion c2,F2, Bb2, Eb2a2, d2,92, c2, Bb chr. 2
Ab2,Dbz,G2,A2f2,bb2, e2, b2, G chr. 2Chord pro. C & F l, lV, V. I
42,E2,B.2,F#2t#2, #/ g#2, #\ C chr. 3Chord pro. G & Bb l, IV, V, I
NOTE: Sight Reading contains some altemale clefs.There are Hom - bass clef, Bassoon - tenor clef, Trombone - altoltenor clef srrdcd lnln1
REEDS And
MAINTENANCE
Selected Sources for Equipment, Accessories, Repair, Music, Etc.
Charles Bay Mouthpieces/barrels/ligatures/accessories P. O. Box 3935-C Westlake Village, CA 91359 805.497.8161 William Brannen Repair 908 Hinman Evanston, IL 60202 847.866.7576
Timothy Clark Repair/instruments 86 Pocono Rd. West Worthington, OH 43235-1407 614.846.4888
Eble Music Co. Music Box 2570 Iowa City, IA 52244-2570 319.338.0313 Clark Fobes Repair, instruments, barrels, mouthpieces 130 Beverly San Francisco, CA 94132 415.585.0636 Robert D. Gilbert Instruments and accessories 943 N. La Cienega Blvd. Los Angeles, CA 90069 310.652.4671
International Musical Suppliers Instruments/Mouthpieces/Barrels/accessories P. O. Box 357 Mt. Prospect, IL 60056 800.762.1116 Légère Reeds Synthetic Reeds 39 Weatherup Crescent, Barrie, ONT CANADA L4N 7J6 705.735.1559 [email protected]
Luyben Music Co. Music 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 Marks Music Co. Instruments and accessories 50 N. Buhl Farm Rd. Hermitage, PA 16148 412.347.7629
Muncy Winds Instruments/Mouthpieces/Barrels/accessories P. O. Box 1274 Boone, NC 28607 800.333.6415 704.963.8990 FAX [email protected] ProWinds, Inc. Accessories 1400 E. 3rd Street Bloomington, IN 47401 812.333.2095 800.789.8509 James Pyne Mouthpieces, barrels, ligatures 1672 Rushing Way Columbus, OH 43235 800.JPYNE-440
Eric Satterlee Repair/Accessories Buttonwood Haslett, MI 517.339.1929 [email protected] Robert Scott Repair, Barrels, Ligatures 2930 Sunderland Rd. Lansing, MI 48911 517.882.9098
Stanton�’s Sheet Music Music 330 S. Fourth St. Columbus, OH 43215 614.224.4257
Frederick Weiner Instruments/Mouthpieces/Barrels/accessories 9216 37th Ave. Jackson Heights, NY 11372 800.622.CORK
Woodwind/Brasswind Instruments/Mouthpieces/Barrels/accessories 50741 US 31 North South Bend, IN 46637 800.348.5003
Woodwind Service, Inc. Music Box 206 Medfield, MA 02052 800.527.6647
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 maintenancehabits ore on importantpart of music educationby lulie DeRocheDirector of Performance EducationG. Leblanc Corporation
I ulie D eRoche is Leblanc' s newly appointeddirector of performance education. Prior to
joining Leblanc, shesewed for mc,ny le(trs ascoordinator of the wood-wind department andclarinet facuhy at DeP aul U niq., er sity, Chic a go.She serued as acting sec'ond clarinet wirh the Chi-cago Symphony Orchesrraduring the 2000-2001season and continues kt| !.€EF;"' perform and tour fre,
quently with the CSO. In addition to herinuolu ement with numerou s chamb er andorchestral groups, she now seTves as imme-diate past president of the InternationalClarinet Associntion.
MI lost of us who teach have openedour students' clarinet cases to find bro-ken or moldy reeds, missing screws,dirty, dusty tone holes or bent keys.Often, these problems are the very rea-sons that our students have troublelearning to perform well.
Clarinets that are not well treated andwell maintained can cause numerousdifficulties, such as lack of response,squeaking, excessive resistance, poorkey coordination and so forth. There"fore, learning to care for a clarinet prop-erly is extremely important, andteaching students how to care for theirinstruments can create lifelong goodhabits. Unfortunatelv. this is sometimesa neglected aspect of instruction.
I still assemble and disassemble myclarinet just as my elementary-schoolband director taught me, and I care forit in the way that I was taught manyyears ago by the greatly respected repairartists, Bill and Linda Brannen. In thissegment of Clarinet Basics, I will share
"Fffi -rnu t'BLANC BELL wr N'ER 2oo3
this valuable training.TI he method of assembling a clarinetcan seem obvious, but in fact, if doneincorrectly, it can be the source of manyproblems. Forcing tight tenons togetheror holding the clarinet incorrectly dur-ing assembly can cause bent keys andstuck joints. There are two importantthings to teach young students to keepin mind while assembling the clarinet.
The first is to place the upper andlower joints together without bendingthe bridge key, and the second is to placethe barrel on in the right direction. Ihave seen young students force thejoints of an instrument to do thingsthat were not intended-and the resultwas not good!
When placing the upper and lowerjoints together, allow the upper joint ofthe clarinet to rest in the palm of theleft hand, with the lower tenon nearthe wrist. The front of the clarinet willbe facing up, and the palm of the handwill be gently cradling the back of thejoint just below the register key. Thefingers will then be able to curvearound the front of the joint and willpress the keys so that the bridge mecha-nism opens or lifts. This allows thestudent to slip the lower-joint bridgekey under the upper-joint bridge key.
Hold the lower joint in the right hand,toward the lower end of the joint, with-out excessive force on the keys or rods.Make sure that all corks are sufficientlylubricated with cork grease. Twist thejoints together in a back-and-forth mo-tion, rather than by turning the lowerjoint in a circular motion. The jointsshould slide smoothly together, and therings in the front should be in line.(Instruments with the PRAG system willsimply slide into proper alignment.)
After putting the upper and lowerjoints together, twist the bell into placeand then the barrel. The barrel has asmall and large end, and although it isprobably obvious to you, be sure thatyour youngest students place the barrelon in the correct direction, with thelarger side of the barrel fitting onto theupper joint. (I have witnessed youngplayers trying to do the opposite withgreat effort.) Finally, place the mouth-piece on the barrel, and then the liga-ture and reed, in that order.
Remember to keep the tenons wellgreased with good, clean cork grease,but do not allow too much grease tobuild up on the cork. Instead, wipe ex-cess grease off the cork before applyingmore so that it does not get sticky. Useonly the amount of cork grease that
you need in order to get a smooth, easyconnection, and do this only when itbecomes difficult to slide the tenonstogether.nUisassembly should follow the oppo-site order. Be sure that your studentcontinues to hold the clarinet as dur-ing assembly, described above, raisingthe bridge key before twisting the jointsapart. Whether playing a wood clarinetor a plastic model, it is best to disas-semble the clarinet as soon as possibleso that the corks do not get pressedcontinually, which can cause loose,wobbly tenons and eventual leaks andstuffiness.
Swab each joint thoroughly with acotton handkerchief swab or silk swab.The swab should be pulled through theclarinet from bottom to top-or fromthe bell to the barrel-but should notbe pulled through the mouthpiece.Make sure that all water is thoroughlyremoved from the tenons by wipingthese areas with the swab.
Remember to shake out the swab sothat it is as long and flat as possible.Do not put it through the clarinet whenit is in a knot. If the swab sets stuck inone of the joints, it is impoitant to takeit to a good repair shop to have it re-moved. Never poke sharp objects intothe clarinet (screwdrivers, flute rods,pencils or pens, batons), as they canscar the tone holes and inner surfaceof the instrument.
Dry the mouthpiece by gently wipingthe surface with the swab, but do notpull the swab through the mouthpiecefrequently, as repeated swabbing can
Part five
Care and maintenancehabits ore on importantpart of music educationby lulie DeRocheDirector of Performance EducationG. Leblanc Corporation
I ulie D eRoche is Leblanc' s newly appointeddirector of performance education. Prior to
joining Leblanc, shesewed for mc,ny le(trs ascoordinator of the wood-wind department andclarinet facuhy at DeP aul U niq., er sity, Chic a go.She serued as acting sec'ond clarinet wirh the Chi-cago Symphony Orchesrraduring the 2000-2001season and continues kt| !.€EF;"' perform and tour fre,
quently with the CSO. In addition to herinuolu ement with numerou s chamb er andorchestral groups, she now seTves as imme-diate past president of the InternationalClarinet Associntion.
MI lost of us who teach have openedour students' clarinet cases to find bro-ken or moldy reeds, missing screws,dirty, dusty tone holes or bent keys.Often, these problems are the very rea-sons that our students have troublelearning to perform well.
Clarinets that are not well treated andwell maintained can cause numerousdifficulties, such as lack of response,squeaking, excessive resistance, poorkey coordination and so forth. There"fore, learning to care for a clarinet prop-erly is extremely important, andteaching students how to care for theirinstruments can create lifelong goodhabits. Unfortunatelv. this is sometimesa neglected aspect of instruction.
I still assemble and disassemble myclarinet just as my elementary-schoolband director taught me, and I care forit in the way that I was taught manyyears ago by the greatly respected repairartists, Bill and Linda Brannen. In thissegment of Clarinet Basics, I will share
"Fffi -rnu t'BLANC BELL wr N'ER 2oo3
this valuable training.TI he method of assembling a clarinetcan seem obvious, but in fact, if doneincorrectly, it can be the source of manyproblems. Forcing tight tenons togetheror holding the clarinet incorrectly dur-ing assembly can cause bent keys andstuck joints. There are two importantthings to teach young students to keepin mind while assembling the clarinet.
The first is to place the upper andlower joints together without bendingthe bridge key, and the second is to placethe barrel on in the right direction. Ihave seen young students force thejoints of an instrument to do thingsthat were not intended-and the resultwas not good!
When placing the upper and lowerjoints together, allow the upper joint ofthe clarinet to rest in the palm of theleft hand, with the lower tenon nearthe wrist. The front of the clarinet willbe facing up, and the palm of the handwill be gently cradling the back of thejoint just below the register key. Thefingers will then be able to curvearound the front of the joint and willpress the keys so that the bridge mecha-nism opens or lifts. This allows thestudent to slip the lower-joint bridgekey under the upper-joint bridge key.
Hold the lower joint in the right hand,toward the lower end of the joint, with-out excessive force on the keys or rods.Make sure that all corks are sufficientlylubricated with cork grease. Twist thejoints together in a back-and-forth mo-tion, rather than by turning the lowerjoint in a circular motion. The jointsshould slide smoothly together, and therings in the front should be in line.(Instruments with the PRAG system willsimply slide into proper alignment.)
After putting the upper and lowerjoints together, twist the bell into placeand then the barrel. The barrel has asmall and large end, and although it isprobably obvious to you, be sure thatyour youngest students place the barrelon in the correct direction, with thelarger side of the barrel fitting onto theupper joint. (I have witnessed youngplayers trying to do the opposite withgreat effort.) Finally, place the mouth-piece on the barrel, and then the liga-ture and reed, in that order.
Remember to keep the tenons wellgreased with good, clean cork grease,but do not allow too much grease tobuild up on the cork. Instead, wipe ex-cess grease off the cork before applyingmore so that it does not get sticky. Useonly the amount of cork grease that
you need in order to get a smooth, easyconnection, and do this only when itbecomes difficult to slide the tenonstogether.nUisassembly should follow the oppo-site order. Be sure that your studentcontinues to hold the clarinet as dur-ing assembly, described above, raisingthe bridge key before twisting the jointsapart. Whether playing a wood clarinetor a plastic model, it is best to disas-semble the clarinet as soon as possibleso that the corks do not get pressedcontinually, which can cause loose,wobbly tenons and eventual leaks andstuffiness.
Swab each joint thoroughly with acotton handkerchief swab or silk swab.The swab should be pulled through theclarinet from bottom to top-or fromthe bell to the barrel-but should notbe pulled through the mouthpiece.Make sure that all water is thoroughlyremoved from the tenons by wipingthese areas with the swab.
Remember to shake out the swab sothat it is as long and flat as possible.Do not put it through the clarinet whenit is in a knot. If the swab sets stuck inone of the joints, it is impoitant to takeit to a good repair shop to have it re-moved. Never poke sharp objects intothe clarinet (screwdrivers, flute rods,pencils or pens, batons), as they canscar the tone holes and inner surfaceof the instrument.
Dry the mouthpiece by gently wipingthe surface with the swab, but do notpull the swab through the mouthpiecefrequently, as repeated swabbing can
Aboue: IJ sing a needle oiler, apply a small drop of key oilwhere the rods meet the posts. Left: 'With the left hand,depress the upper-joint keys to raise the bridge mechanism.
actually change the mouthpiece's deli-cate inner dimensions. Approximatelyonce a week, run tepid water throughthe mouthpiece, protecting the cork asmuch as possible. To remove white de-posits, soak the tip of the mouthpiecein lemon iuice.
Remove all water from tone holes byusing pad paper. (Long ago we usedcigarette paper. The same paper is nowavailable as pad-drying paper so thatyoung students may get it easily frommusic stores.) Drying the clarinet effec-tively will keep it clean and will helpprevent a wood-bodied instrument fromcracking. Teaching this to students whohave plastic clarinets will help ensurethat they continue to dry their instru-ments thoroughly when they eventu-ally step up to wood.M.l'lake sure that your youngest studentsknow how to place the parts of theinstrument back into the case correctly.The upper and lower joints must fitinto the case in the correct direction inorder for the case to close properly, andthe case should never be forced shutlike an overstuffed suitcase. lf thepieces are in the case in their properpositions, the case should close securelybut easily.
The mouthpiece should be placed inthe case with the ligature on it, andthen the mouthpiece cap should beplaced over both, with care being takennot to nick or crack the facing of themouthpiece by hitting it with the cap.(I prefer plastic caps for this reason.)
It is best to take the reed off themouthpiece before storing it. Reeds left
to dry on the mouthpiececan warp, which willmake them play badly invery little time. However,reeds left floating in thecase will most certainlvbe damaged.
To protect reeds, storethem in a reed guard ofsome kind that will keepthe reeds flat. Wet reedskept in the paper casesor boxes in which theywere sold will not stay ingood playing shape, asthey will not be able todry in a flat position. Agood reed case will bemade of a hard material(plastic or with a glassplate), will protect the tipof the reed and will keepthe reed held securely ona drv. flat surface.
The clarinet should be kept free ofdirt and grime by dusting under thekeys with a soft brush on a regular ba-sis. To keep keys moving efficiently andnoiselessly, about once a month, applya small drop of specially formulatedkey oil where the key rods meet theposts. Be sure all dirt is removed be-fore applying key oil. Use a needle oiler,and take care that no oil comes intocontact with the plastic body of studentinstruments.
Check to see that the screws are inplace and have not twisted themselvesout of the post. Lost screws will meanlost keys. If the screw is too far out,tighten it with a small screwdriver un-til it is level with the post, but do notoverwind the screw, as the key may bind.If in doubt, seek out a qualified repairperson to fix, maintain and adjust screwtensions.
Wood.n clarinets are sometimes sub-ject to cracking, a situation we all hopeto avoid. Cracking can occur if part ofthe wood absorbs moisture and expandswhile other sections are too drv: thedifference in pressure may cause acrack. The same can be said of tem-perature. If you blow hot air through acold instrument, the temperature dif-ference can cause the bore to expandwhile the outside remains cold and con-tracted. Either way, the pressure on thewood is inconsistent, and cracking ispossible. (For this reason, never use awooden instrument on the marchinefield.)
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. There-fore, the best way to avoid cracking is totry to maintain consistency in thewood's temperature and moisture level.
Keep the instrument as dry as pos-sible, especially when placing it intothe case after playing; warm it up slowly;keep it stored away from heat or coldsources. If the tenon rings are loose,the wood has become too dry and hasshrunk. If the joints are stuck, the woodhas expanded. Make sure you take yourinstrument to a qualified repair personright away to solve these problems be-fore cracking occurs.nUne of the most lrequent questions Ireceive concerning maintenance iswhether or not to oil the bores of wood-bodied instruments. The answer is noteasy. I have never oiled my clarinetbores, and I have never had a crack.However, some people have a bodychemistry that causes the clarinet boreto dry out considerably.
If your instrument has a very drybore, it is a good idea to oil it. Do thisonly during cold months (when yourheating system dries the air) or if youlive in a very dry climate. To oil thebore, place a few drops of bore oil onan old swab and pull the swab throughthe instrument. The important thing isthat if you do it once, you must then doit regularly-once every two weeks orso during the winter months in coldclimates, or more often in very dry climates.
Do not use anything except bore oilthat you find in music stores, which isformulated from light mineral oils thatwill not turn rancid. Oiline the borewill not affect your clarinei's tone orfesponse.
Finally, make sure that your studentsnever stand a clarinet on the floor bythe bell (unless, of course, they have aclarinet peg), lay it on a music stand,leave it on an unstable chair or lying onthe floor, carry it through the halls with-out regard to protecting the mouthpiecefrom hitting the walls or their friends,leave the mouthpiece cap off whilewaiting in line to take an all-state audition or leave it unattended-in or outof the case.
Teach every student to care for andprotect his or her clarinet. It is an in-strument, not a toy, and deserves goodtreatment and respect. lf students be-lieve they are in possession of a pre-cious object, they will learn to value it,and they will value the work they dowith it all the more. E
IHE LEBLANC BELL WINTER 2OO3 'ffi
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 Comments 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?
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 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 YES NO Comments 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.
Eb Soprano Clarinet Alto Clarinet Bass Clarinets Holding position Same as Bb Same as Bb Modified from Bb
due to angle of neck of bass clarinet.
Posture Same as Bb Similar to Bb. Check peg height/neckstrap adjustment.
Player should bring bass clarinet to self, not self to bass clarinet. Check height of peg/neckstrap.
Hand Position Similar to Bb but tone holes closer.
Similar to Bb but tone holes farther apart.
Similar to Bb but tone holes farther apart.
Key mechanism Same as Bb. Extra key for low Eb and key mechanism for ½ hole. Check for bridge between bell and lower joint.
Minimum extra key for low Eb (and down to low C possible.) Tone holes covered. ½ hole mechanism. Check bridge keys.
Assembly Same as Bb but body consists of only one piece.
Same as Bb but body typically only in one piece.
Same as Bb but with low peg, neck instead of barrel.
Mouthpiece Smaller than Bb. Larger than Bb. Make certain to have enough mp/reed inside mouth.
Larger than Bb. Make certain to have enough mp/reed inside mouth.
Reeds Use Eb reeds or cut Bb reeds at butt of reed.
Use alto clarinet reeds or alto sax reeds.
Use bass clarinet reeds or tenor sax reeds.
Embouchure Same as Bb. Similar to Bb but a bit less firm.
Similar to Bb but bit less firm.
Written pitch Same as Bb. Same as Bb. Same as Bb. Bass clarinet parts sometimes written in bass clef.
Sounding pitch Written C sounds a m3 above.
Written C sounds a M6th below.
Written C sounds an octave and a step below.
Voicing/Oral Cavity Similar to Bb. Sometimes necessary to imagine more �“ah�” than �“hee.�”
Arched, focusing tongue still necessary, but tongue likely not quite as high.
Arched, focusing tongue still necessary, but tongue likely not quite as high
Altissimo Same as Bb. Same as Bb but use Same as Bb but use
Different tuning considerations. Listen carefully.
½ hole feature. Think �“hee�” as for Bb.
½ hole feature. Think �“hee�” as for Bb.
Articulation Same as Bb. Same as Bb. Same as Bb. Breath Support/Air Use
Similar to Bb. MORE air than Bb, less resistance.
MORE air than Bb, less resistance.
REPERTOIRE And
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Clarinet Method Books
Beqfutiuklgtermedirte lryeliClarinct Student Books 1,2, & 3Enjoy Playing the ClaringtClarinet MsthodThe Complete Clarinel Player Books l&2The Shrdent Clarinetist Books 1 & 2Yamata Clarinet StudentA Tnne aDay Books I,2,&3Tunes for Clarinet TechniqueInternediate Method for ClarinetDaily Excrcises and Scales for Clminet
Ailvrnced Eigh School [.€vd:Advanced Method for ClarinetMelodious and hogressive Studies Book I &226 Studies for the ClarinetClarinet-Scales and ArpcggiosModern Coune For the Clarinet Scales and ArpeggiosArtistic Studies from the French fthool (Ro.rj noot IArtistic Studies from the lalian School (Cavallini)Artistic Shrdies from the Gernan School (Baennann)Foundation Studies for Clarinet @aermann III)Celebrated Method for ClarinetThe Progressing ClarinetistThe Advancing Clarinetist
$unnleqeptarv Method Bof *tiEssential Clarinet TechniqucStntlies and Melodious Etudes for ClainetSection Studies for B-flat ClarinetFirst Book of Practical Studies for ClarinetSecond Book of.Practical Studies for ClarinetA Rhythr a DayWinning RhythmsRhythmic TrainingMelodic Etudcs for Beginniug ClarhetTechnical Studies for Beginning ClarinetDevelopment of the Altissimo Rcgister for Clarinet-The NewExtended Wor{ring Range forClarinetClarinet HandbookClrinetNste Speller60 Rambles for Clarinet \
Odd Meter EnrdesOdd MeterDuetsMajor and Minor vol. 24 wlCDGsttrng' it Together vol.2l wlCD
Fred WeberlRobert Lowry @elwin)Ruth Bonefti (Ordor$George Waln (Warner Bros.)Paul Harvey (Wise Publications)Benjamin Spieler (Player press)JobnKinyon(AIH)C. Paul Herftrth @oslon Music Co.)tselwinSkornica/lr{illo (Rubank)G. Pares
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$ter (Carl Fischer)
John Davies & Paul Hanis (Fahr Mirsic)Robert LornryNilo FloveyNiIo HovevNilo HoveyBelwin MillsEdward L. AyolaRobert Star€r (MCA Musie)Norman HeimNomranHeimNorman HeimIklmen OppermsnNorman HeimFred WeberLtnn LestbrEveret Gatesdv6retGafesJaney AebenoldJamey Aebusold
Solo Repertoire
Ep4nning.Intefmcdirte Level:Ancient MinuetArioso from CantataN. 156ChansonetteNoctrmeRomanceSonata in DEve,ning in the CountryWhen the Satins Go Marching InSerenadeBmken Reed Blues (unnacompanied)Dixie PixieChaoson ModemeChrysalisAria CaatandoMenuetto K.334TimepigcgPiece in G minorWess€x PasoraleLittle Serenad€Paerandthe CatClarinataPepperino Concert CapriceTom Sawyer SuiteClarinetto AriosoFamous MelodiesFamous MelodiesLeonad Bcrnstein for ClarinetEngliS Folk Songs for ClarinetSelected Clarinet SolosAlbum for Clarinet and Piano
Advanq.ed Hig$ School Lcvel;AdagioScene andAirop. 82.CantileneAdagio and TaraatellaFestival SoloTom Sawyer Suit€SonataPetite PieceFantasy $uite5 BagatellesPhailasy Pieees op.43FantasieAllegretloLanento et Tarantclle
Arman/tlite (Southern)J.S. Bach (Carl Fischer)A. Barret (Rubank)L. Bassi (Rubank)J. BeckerA/oxrnan @ubank) C &C CollectionBeethove,n axr. Webster (Schirmer)BartoM{srris (Ludwig)Forrest L. Buchtel (Neil A. K,ios)Fonest L. Bushtel (Neil A. Kjos)Paul Harvey (Cool Music)Paul Harvey (Cool Music)Hovcy (BelwinlG. Langenus (Carl Fischer)Hovey @elwin)Mozart Eubank)Leonie Niehaus (Kendor Music)Pieme (Southern)Stooks (Southern)Purcell/Worlcy &udwig)ProkotrevlFms€rWhihey (Spratt)R M. Endresen(Rubank)James Collis @oosey and Hawkes)Wiltied Berk (Anton Benjamin)Rossini/Cowles {Ricordi)Puccini/Cowles (Ricordi)Bernsteix/Elliot @oosey and Hawkes)Wise Publication (Dorsey Brorhers Music)Amsco {Amsco Publishing)Grainger (Schirmer)
Baermann (Schirner)Bergson (Rubank)L. CahuzacCavallini arr. Hite (Carl Fiscber)Collis (Boosey and Hewkes)Ccllis @oosey and Hawkes)Danzi (Scbott)Debussy alr. Hite (Irubl?)lrnhill (Boosey and HawkesJFinzi (Boosey and Hawkcs)Gade (Souftern)Gaubert (Southenr)Gaubert (Southefn)Grovlez (Leduc)
Jazzy Clarinet vol. | &2Concerto in E-fletDuo ConcertanteCanmnetta op. 19Solo de ConcoursFlight of tbe BrnblebeeFantasie PiecesConcedo no. 3 in B-flatMaiorCorcertinoSonatinaVariadonsSonsteConcertinoConcerto no. I in fminorConcerto no. 2 in E-flat l@jorVariations op. 33Grand Duo ConcsrtanteSonatine
Splo Reoertoirc Comoilrtiqps/Co4ectign$lMashrworks for Clarinet and PianoThe Recital CladnetistSixteen Grand Solos forClarinetSoloist Folio for B-flst Clarinet and PianoSolos fot thc Clarinet PlayerFmtastic Faudliar Folk SongsConcert and Contest Collcstion for B-flat ClarinetFrench Pieces for Clarinet and Piano€lessig Festival Solcs for Clrinet Vol. 1 &ZClarinst EluetsClsiwt ftrcert PiecesClrinct SolosJoplin Ragtim€Albumfor ClarinetSix Stdies in English Folk Songfthumann for ClarinetSatie Album
Trangposine Solo Litenturc for Chrinet in r.
Paul HarveyKrommer (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 $nternational)Weber (tntcrnational)Weber (Schirmer)Webcr (Schirmcr)Jaromir Woinberger (Carl Fischer)
ed. Eric Simon (Schinner)Armato (Carl Fischer)arr. Booade (Southern)Rubank .
ed. {rthur Christman (Schirmer)Feldstein/O'RaillyH. Voxman (Rubank)edDonaGilliao snd MizyMcCrskitt (Mel Bay)
sd. William Eisenhauer (dted)ed. arr. Pamela Wesloned: an Thea King (Chester Music)an. Colin Cowles (Fentone)Grainger (Schirmer)Vzughn-Wiiliam (Stainer & BelVcalaxy)KingSatie
There is guite a bit of seaodard solo and orcMal reprertoire uaitten for the clarinst in A. [.fo$intermediate ancl possibly advanced high school players would not yet own this instrlment. Theproblem ttlat could arise ir that the transposition from orc to the other can bo confirsing andcbaltenging fol the yoiyg or inexperienced fiansposing player.For cxanple, in order tripJay inconcc* B-flat &c A clarinet setslo Blay in C Major and the Fflat elaringt would have to play inB Major. The B-flat clarinetist will have to dwelop the skill oftransposing down a 6atgjepwhich can get quite messy when fast tempos and accidentals arc involved, not to mention someof the technioal challenges that could arisc from awkward key signatures. This is not mcmt todiscourage the clarinetist fronn developing this skill. This is actuaily sonething thery sboutd havethe ability to do dong with e ftnsposition as they maturc into highly advaaced clarinetists. Most
