Clarinet Book Day 2.indd - Bandworld

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A Beginner’s Approachto the

Licorice StickLicorice Stick

Karla K. KillingerABC Practical Application #2August 2006

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A Beginner’s Approach to the Licorice Stick

History of the ClarinetHistory of the ClarinetTh e clarinet dates back to the 1600s, to an instrument called the chalumeau (possibly French in

origin). Th e chalumeau was a cane pipe measuring about nine inches long. It had seven holes, including a thumb hole, and a range of not much more than an octave. Its range was low and limited. Th e low range on the modern clarinet continues to be named for the chalumeau.

Sometime in the 1700s, a German woodwind maker named Johann Denner improved the chalumeau and invented the early clarinet. Two keys were added to expand the range by giving it an upper register. Denner may have also given it a separate mouthpiece and reed.

By 1750 the clarinet’s body had taken the basic shape we see today. By the 1820s clarinets had 12 to 13 keys and in 1850 the Boehm key system had been introduced. Th is key work system was currently being used on the fl ute and eliminated some very diffi cult fi ngerings. Th e Boehm system placed each hole so that each note would have the same tone quality and made a key system to cover all of the holes. It was a success and became popular around the world, replacing the Albert system which is still used in some parts of Europe. Th e Albert system is a complex auxiliary keywork that gives a deeper tone and is favored in German-speaking countries.

In the mid to late 1700s, composers had begun writing musical pieces specifi cally for the clarinet. In the 1800s, the instrument became much more prominent and large volumes of music were written for it in the early 1900s.

Th ere are currently three types of clarinets in use in the world today, the soprano, alto, and bass clarinets. Th ere are also two variations on the alto and bass clarinet, the contra alto and contra bass. All of the types of the clarinet are included in symphony, chamber orchestras, concert band, and small ensembles. Th e clarinet is known for its warm full sound.

Ab Soprano

Eb Soprano

C Soprano

Bb Soprano

A Soprano

F Basset HornEb Alto

F Basset Horn(with ext(with ext( ended

range to C)Bb Bass

Eb Contralto

Bb Contrabass

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Karla K. Killinger

Ab Soprano

Eb Soprano

C Soprano

Bb Soprano

A Soprano

F Basset Horn

Eb Alto

Bb Bass

Eb Contralto

Bb Contrabass

m6 higher

m3 higher

Sounds as written

M2 lowerM2 lowerM

m3 lower

M6 lower

P5 lower

M9 lower

M6+8 lower

M9+8 lower

As Written Concert Pitches

The Clarinet FamilyThe Clarinet Family

English Italian French German Spanish Clarinet Clarinetto Clarinette Klarinette Clarinete

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Karla K. Killinger

One of the fi rst requirements for acceptable performance on the clarinet is good equipment, including the instrument, the mouthpiece and the reed. Th e beginner’s instrument does not need to be professional quality, but it must be in well tuned working condition. Inferior equipment will only discourage a beginning player.

Th e second requirement to success will be good AIR support. Proper breathing technique must be learned from the onset of instruction. AIR. AIR. AIR. Always play with great AIR support.

Th e third requirement to success will be to learn the fi ngerings and concepts for correct note production. Th ese fi ngerings remain the same for every instrument in the clarinet family. Learn one and you learn them all.

Th e clarinet is a transposing instrument. To produce the same pitch that the piano plays, the clarinet must play one step higher. In other words, a Bb on the piano is played as a C on the clarinet. Th e transposition on the clarinet (Bb soprano and bass clarinet) is the same for the tenor sax and trumpet.

MouthpieceMouthpieceA good mouthpiece is very important. Hard rubber, glass and plastic are used in the

construction of most clarinet mouthpieces today. Th e basic design is more important than the material. If in question about mouthpieces, a student should try out diff erent models before purchasing one. School ownership of several mouthpieces is helpful for students to try.

Some of the most popular brands of mouthpieces are Vandoren, Selmer Paris, Pyne, Bay, Garrett, Hite, Leblanc, and Pomarico.

LigatureLigatureTh e ligature is a band of metal, plastic, or rubber that holds the reed in place on the

mouthpiece. It is placed fi rmly, but not too tight as to stop the reed from vibrating. Th e ligature can ruin reed response and reed life by pinching the cane on the sides. Free vibration of the reed can be lost. Match the ligature to the mouthpiece so that the inside edges of the bands nearly meet.

Some of the most popular brands of ligature are Vandoren, Bonade, Bay, and BG.

ReedsReedsLike people, no two reeds are alike. Th e player must be willing to accept

constant change and make appropriate adjustments. Th e reed as well as the player is in constant change with lip pressure and various other body tensions. Students should purchase more than one reed at a time; four would be good but a box of 25 is better. A too soft reed will not permit the proper clarinet embouchure. A student can begin on a 2 ½ hardness reed, moving to a 3 or 3 ½ as soon as their ability will allow.

Th e top selling reeds are Mitchell Lurie, Vandoren, LaVoz, and Rico Royals.

Let’s Get StartedLet’s Get Started

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Proper reed alignment on the mouthpiece and the tightness of the ligature are very important. If a reed is placed too high or low it will not be able to vibrate correctly. If a ligature is too tight the reed will not respond and will warp, and if it is too loose it will slide around.

Before blowing the fi rst tones on the mouthpiece, we must fi rst place the reed correctly on the mouthpiece.

1. Place the reed in your mouth and begin to soak it with saliva.2. With a fi rm twisting motion place the mouthpiece on the barrel.3. Slide the ligature loosely on the mouthpiece.4. Slip the thick end of the moistened reed under the ligature from above, locating the tip of the

reed almost even with the tip of the mouthpiece. A very, very thin line of black should show.5. Tighten the screws of the ligature.

Reed PlacementReed Placement

Embouchure is the lip and surrounding facial muscles required in playing the clarinet with success. A faulty embouchure will result in playing problems.

Steps to forming a correct embouchure for the clarinet by using the barrel, mouthpiece, reed, and ligature:

EmbouchureEmbouchure

1Roll the bottom lip

over the bottom of the

1over the bottom of the

1teeth. Place the reed 1teeth. Place the reed 1about ½ inch into your 1about ½ inch into your 1mouth, using the bottom 1mouth, using the bottom 1lip as a pillow for the 1lip as a pillow for the 1mouthpiece.

3Say “Q” to bring the top lip forward and in slightly as if surrounding

3slightly as if surrounding

3a cigar or large straw. 3a cigar or large straw. 3Keep tight corners, 3Keep tight corners, 3fl at chin, top teeth 3fl at chin, top teeth 3on mouthpiece, and 3on mouthpiece, and 3bottom lip covers the bottom teeth.

2Say an exaggerated

2Say an exaggerated

2“A” to tighten the 2“A” to tighten the 2corners of your lips 2corners of your lips 2and fl atten the chin.2and fl atten the chin.2 4Blow air through the mouthpiece. Th e pitch should be a top line F#. A tuner should be used for proper pitch. If the

4for proper pitch. If the

4pitch is fl at, increase 4pitch is fl at, increase 4air pressure, and if it 4air pressure, and if it 4is sharp, decrease air 4is sharp, decrease air 4pressure. When a good sound is produced, then it is time to assemble the clarinet.

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Karla K. Killinger

Assembly of the InstrumentAssembly of the InstrumentCareful preparation used in assembling the instrument will avoid damage to the mechanism. A

sticker placed on the top side of the clarinet case will insure that the case will always be opened correctly. Th e cork joints should be lubricated with a small amount of cork grease before the instrument is fi rst assembled.

Cork Grease

Upper Joint

Barrel

Bell

Mouthpiece

Lower Joint

Silk Swab

Reeds

Clarinet specialists each have their individual preferences to putting the clarinet together. Care must be taken not to grasp the key work as to cause any damage to the rods.

To assemble the clarinet:

1Place the barrel on the upper 1Place the barrel on the upper 1joint with a turning motion.1joint with a turning motion.13

Put the upper and lower joints together. To avoid jamming of the

3together. To avoid jamming of the

3connecting mechanism (bridge or 3connecting mechanism (bridge or 3lap), close the D-Ring (2nd from the 3lap), close the D-Ring (2nd from the 3top) as the tenon of the upper joint is 3top) as the tenon of the upper joint is 3inserted in the receiver of the lower 3inserted in the receiver of the lower 3with a slight turning motion

5Place the ligature in place.5Place the ligature in place.5

2Place the bell on the lower joint 2Place the bell on the lower joint 2in the same manner.2in the same manner.24Turn the mouthpiece into the 4Turn the mouthpiece into the 4barrel-joint.4barrel-joint.46Slide the moistened reed under 6Slide the moistened reed under 6the ligature.6the ligature.6

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Right Hand - Lower JointTh e weight of the instrument is supported mainly by the right

thumb. Th e side of the thumb touches the thumb rest near the base of the thumb nail.

Th ere are three holes in the lower joint and they will be covered by the right hand (index, middle, and ring fi nger).

Left Hand - Upper JointTh e position of the left hand controls the throat register and its

connection with the register change. Th e left thumb operates the thumb ring and the register key. It should not shift its position to open the register key.

Th ere are three holes in the upper joint and they will be covered by the left hand (index, middle, and ring fi nger).

Attention should be made to the fact that none of the fi ngers is per-pendicular to the body of the clarinet. Th e fi ngers assume a curved downward angle. Th e natural pads of the fi ngers (not the tips) are used to close the holes. Fingers must not be lifted too far above the holes or keys.

A good hand position permits rapid execution of any note with minimum motion. Early attention to location and angle of the thumbs and index fi ngers will aid in easy movement of the fi ngers.

Hand PositionHand Position

PosturePostureGood posture, holding and hand positions are extremely important to good clarinet playing.

1. Sit forward and upright on the chair, keeping elbows off the knees, and feet fl at on the fl oor.2. Keep the weight of the instrument mainly on the thumb rest.3. Keep the head up to promote better breathing, tone quality, and attention to the conductor.4. Bring the mouthpiece to the mouth instead of reaching for it. Push forward with the right

thumb until the mouthpiece is in the mouth.5. Keep the clarinet at about a 30 degree angle from the body.

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Karla K. Killinger

Let’s Learn Some NotesLet’s Learn Some NotesNow that we know how to assemble the clarinet, form an embouchure, and make fi nger placement,

we are ready to learn some notes.Let’s begin with the left hand. Th e notes on this hand will provide a fi rm hold on the instrument.Close the holes of the left thumb and fi ngers 1,2, and 3. Th is fi rst note is middle C. Remember that

a clarinet is a transposing instrument and a note will be one step higher than on a piano. When playing a clarinet’s middle C, it will register as a Bb on the tuner.

With your fi ngers on the correct positions:1. Bring the clarinet to your mouth2. Form the embouchure (“A” – “Q”)3. Take a big breath and blow through the mouthpiece4. Use a tuner to play the pitch in tune.

T 1 2 3

T 1 2

T 1 TC

D

E

F

Lift fi nger 3 and the note is D (registers a C on tuner)

Lift fi nger 1 and the note is F (registers an Eb on tuner)

Lift fi nger 2 and the note is E (registers a D on tuner)

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Good job! Now for the right hand notes. Position your left hand in the “C” note position with the T, 1,2,3 fi ngering. By adding fi ngers of the right hand, we will progress down the scale to low “F.”

T 1 2 3

T 1 2 3 4

T 1 2 3 4 5

T 1 2 3 4 5 6

T 1 2 3 4 5 6 F

Add right hand fi nger 1 and the note is Bb (registers an Ab on tuner)

Add right hand fi nger 2 and the note is A (registers a G on tuner)

Add right hand fi nger 3 and the note is G (registers an F on tuner)

Add pinky F and the note is F (registers an Eb on tuner)

Bb

A

G

F

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Karla K. Killinger

Tonguing is the action of beginning a note with the tongue touching the tip of the reed. For most, the upper side of the tongue, nearly at its tip, lightly touches the underside of the tip of the reed to stop it from vibrating. Th e tone is started when the tip of the tongue drops lightly downward and slightly back away from the tip of the reed. Avoid tonguing too far down on the reed or placing too much tongue against the reed.

Tonguing is most easily learned by sustaining a tone, then lightly touching the tip of the tongue against the tip of the reed to stop the vibration. Th is should be practiced until the starting and stopping of the tone is smooth.

Th e abruptness with which one touches the reed is referred to as “attacks.” Th e control of these attacks allows the tonguing to be done gently (legato) or more vigorously (staccato). In legato tonguing, the syllable “doo” is used. Successive attacks are accomplished in a “doodoodoodoo” fashion. In staccato tonguing, the syllable “too” gives a stronger punctuation of the note.

Th e most common errors in tonguing are (1) movement of jaw (only tip of tongue should move), (2) pushing tongue too hard against the reed (touch lightly), (3) moving tongue too far (movement should be minimal).

TonguingTonguing

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Th e clarinet reaches from E below the staff to G above the staff and higher for very advanced players. Th e four ranges are chalumeau (low E - fi rst space F, throat (fi rst space F# - third line Bb), clarion (third space C – C above the staff ), and altissimo (C# above the staff – G).

Chalumeau Th roatClarion

Altissimo

Once the chalumeau range has been learned, here is a simple exercise to quickly teach the clarion range. Have the student play the following with a good full tone. Repeat it over and over.

When playing the low E keep the right little fi nger down on the F key. While at the bottom E, touch the register key and have the student keep on playing. Th e student will be playing the following clarion register by ear.

Th is exercise will help the student play the entire range of the clarinet with one position of the mouthpiece and the lips.

Here is a short graphic display of the clarinet’s entire fi ngering system based upon the acoustical principles involved in the clarinet. Th e seven fi ngerings from low A to D# in the chalameau can be called the seven basic fi ngerings. Th ese fi ngerings are used in each of the three registers of the clarinet. Th ree times seven is twenty-one. Over half of the entire range of the clarinet is fi ngered by seven basic fi ngerings.

Ranges of the ClarinetRanges of the Clarinet

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Alternate FingeringsAlternate FingeringsIt is important to recognize alternate fi ngerings on the clarinet that will help with certain passages

of music. When side keys are necessary, the student should use the side of the index fi nger or the side of the palm where the index fi nger connects.

Bottom Line Eb/D#

Eb using D pluschromatic silver key

Eb using E plusright-hand Bb

Eb using E plusright-hand B§

Eb using E plusright-hand side key

Right and Left fi ngerings for:

C5 and F3

Left

Right

C#5 and F#3B4 and E3

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Karla K. Killinger

Th e most common alternate fi ngerings are shown below, together with examples of when they are to be used. Even though it may take some eff ort to learn how and when to use them, their use will greatly increase your ability to play rapidly and smoothly when you play faster and more diffi cult music. Master their use; it will pay big dividends later.

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Practice to Be PerfectPractice to Be PerfectKarla’s Five-Step Plan- Karla’s Five-Step Plan -

Th e greatest benefi t that one can gain from practicing scales and daily exercises is mental discipline. Everyone’s success in life and the goal for happiness is dependent upon how that person works through the challenges or hurdles. Learning to play an instrument is a real example of practicing to rise above the challenges and to be successful. When we practice we should “Practice to be Perfect.” If we practice incorrectly, we practice to be imperfect. Th is lesson will have a strong impact upon a music student’s future life by practicing formal studies carefully and accurately.

To keep with my motto to K.I.S.S. (Keep It Systematically Simple) and have fun, I like to use and recommend a fi ve-step practice schedule from E.C. Moore’s book “Th e Clarinet and its Daily Routine.” I have adopted this practice regiment on all of my instruments.

Step 1 Tone Study 10 Minutes

Ten minutes of warm-ups and tone exercises help develop our listening skills, as well as our embouchure skills. Posture, embouchure, breathing, fi ngerings, and tone quality are the emphasis of this section.

Step 2 Scale Study 10 MinutesFive minutes is recommended on the chromatic scale fi rst. Th en try to cover as many of the major and minor scales you can in the next fi ve minutes on a daily basis.

Step 3 Interval/Chord Study 10 Minutes

Chord studies can easily give a student a good elementary command of the instrument. It is advised to learn one key a day.

Step 4 New Music 10 MinutesSightreading stimulates and trains our brain. Sightreading can be fatiguing, but with practice will become an easy skill. Any method book or song book can be appropriate for the student.

Step 5 Music Rehearsal 10 Minutes

Th is fi nal step is the “have fun” portion of the practice time. Th is portion is for music that the student already knows and is practicing to perfect. It is a good idea to fi nish a lesson with something that is least tiring.

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Pitch TendenciesPitch Tendencies

b = fl at # =sharp

S = Slightly M = Moderately V = Very

M# S# S# S#

S# S# S#

Sb M# M# V#

Sb S# M# V# V#

Clarinet Book Day 2.indd - Bandworld

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