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Winning
Woodwinds!
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WINNING WOODWINDS
Table of Contents
Introduction................................................................................................... 2
Developing Proper Seated Posture ............................................................... 3
Developing Correct Breathing Habits ......................................................... 4-5
Reeds............................................................................................................ 6
Parts of the Instrument ................................................................................ 6-7
Instrument Assembly.................................................................................. 7-8
Setting up the mouthpiece .......................................................................... 8-9
Forming the Embouchure and Producing a Tone on the Mouthpiece ............ 10
Producing a Tone with the Clarinet and Checkpoints for Good Sound .......... 11
Hand Position .............................................................................................. 12
What if it Doesnt Sound Right? Common Problems & Solutions ................13-14
Instrument Care & Maintenance...............................................................15-16
Developing Muscle Memory: Finger Wiggling............................................. 17
Reading Treble Clef ................................................................................18-19
Reading Rhythms.....................................................................................20-21
Time Signature ........................................................................................22-23
Putting it All Together (Reading & Playing Music) ....................................24-28
Clarinet Fingering Chart .........................................................................29-31
Treble Clef Flash Cards...........................................................................32-39
Acknowledgements/About the Author ......................................................... 40
Works Cited............................................................................................41-42
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PAGE 2
Recommended items:
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PAGE 3
Seated Posture
1. Sit on the front edge of your chair with your feet flat on the floor and spread
shoulder width apart. Your weight should be distributed far enough forward
that you can stand straight up without having to shift your weight first.
2. Push your spine slightly forward towards your navel until you are sitting upright and tall.
3. Make sure your shoulders, arms and neck stay relaxed. You should be comfortable enough to sit in this position for quite a while.
Yes!
Yes!
No!
Yes!
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PAGE 4
2. Sit in your chair (while demonstrating proper posture.) Relax your shoulders
and try to inhale and exhale in the same way that you did while you were
lying on the floorfilling your lungs all the way to the bottom first, then up to
your chest before exhaling. Try and expand your ribs outwards until you feel
like they cant expand any more before exhaling. If you are breathing
properly and expanding your lungs, your shoulders should not move very
much as you inhale and exhale.
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PAGE 5
Checkpoint: Think about saying the word OH when you inhale and HO when
you exhale. If you are breathing correctly, you should feel cold air in your throat
when you inhale and you should be able to blow warm air onto the palm of your
hand when you exhale.
3. When you play a musical instrument, you need to be able to inhale so that
your lungs are full in a short amount of time. Try the following exercise to
help you breathe in more quickly:
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PAGE 6
Reeds
In order to play the clarinet, you need to always have reeds on hand. A reed is a
piece of cane (bamboo) that has been cut to certain specifications so that, when
it has been moistened and attached to your mouthpiece, it will vibrate and
create sound.
Try to keep 3 or more good, working reeds with you at all times. If treated
properly, reeds will last a long timebut reeds that have chipped or frayed will
produce poor quality sound.
Reeds come in different strengths, ranging from 1.5 to 5 (depending on the
brand.) Most beginners should start on a 2 or 2.5 strength reed.
Recommended brands of reeds include Rico Royal (light blue box) and
Vandoren (dark blue box). Dont forget that orange is a color indicating a
warningso avoid purchasing reeds that come in an orange box.
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PAGE 7
When you open your case, this is what you should see:
LOWER JOINT
BARREL
Accessories:
Reeds, Swab, &
Cork Grease
BELL
Corks
Tone Holes
with and
without rings
MOUTHPIECE
with ligature & cap
UPPER JOINT
Bridge Key
Instrument Assembly
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PAGE 8
3. Hold the lower joint of the clarinet in your right hand and take the upper joint
out of the case with your left. Use your index and middle fingers of your left
hand to press down on the two rings at the top of the upper joint. This will
open the bridge key on the side of the clarinet. Gently twist the upper and
lower joints together, aligning the bridge keys on the right side.
4. Pick up the barrel and insert the wide end onto the cork at the top of the
upper joint.
5. Insert the mouthpiece into the top of the barrel. Line up the table of the
mouthpiece with the hole on the back side of the clarinet. (Remember, the
table of the mouthpiece is the flat part on the back side.)
Setting Up Your Mouthpiece
When you take out your mouthpiece assembly, it will likely look like one of
these two set-ups:
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PAGE 9
Take the mouthpiece cap off of your mouthpiece and leave it in your case. You
dont need it when you play, only to protect your reed if youre moving around
with your instrument. Go ahead and leave the ligature in your case for a minute
as well.
Hold your clarinet so that you are looking at the flat side of the mouthpiece
(called the table) at eye level. Take the reed out of your mouth and
place the flat side of the reed against the table of the mouthpiece. Using
your thumb to hold the reed in place, adjust the reed so that you can only
see a tiny sliver of the mouthpiece sticking up behind the reed. Then,
make sure the bottom of the reed is lined up symmetrically at the bottom.
Once your reed is lined up, pick up your ligature and
loosen the screws most of the way. The wider side of the
ligature faces down and the screws always face to the right.
If you have a regular metal (bonade-style) ligature, this
means your screws will touch your reed on the back side of
the mouthpiece.
If you have a leather ligature (such as a Rovner), the leather
strap goes against the reed and the screw points to the right
on the front of the mouthpiece. Lower the ligature so that
the top of the ligature is just below the beak on the front
of the mouthpiece. If youre using Rico Royal or Vandoren
reeds, you can line up the top of the ligature with the cut
line on the back of the reed.
Tighten the screw(s) only as much as needed to hold the
reed firmly on the clarinetBUT the ligature should not be tightened all the way.
If you start noticing indentations in the back of your reed, its probably because
your ligature is too tight.
For the next section, leave the barrel and mouthpiece assembled and
remove it from the rest of the clarinet.
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LH Thumb
RH Thumb
Right hand
Relax your left hand form a C, as if you are holding a can of
soda. Place your right thumb underneath the thumb rest; it
should sit where your fingernail meets your thumb. Place
your index, middle, and ring fingers over the tone holes as
show in the diagram on the right. Your pinky should hover above the four
keys at the bottom. Never use your pinky to support the weight of the
clarinet.
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PAGE 13
Suggested Remedy
Correct Result
More often then not, if youve followed the instructions you will get
a reasonable sound. Congratulations! Keep practicing until you
can consistently achieve the correct tone every time you play.
No Tone,
Rushing Air:
rushing through
your instrument.
Squawk-like
tone or Flat
pitch
Pitch is flat and
honks
Possible causes:
Its possible that youre putting enough pressure against the reed;
firm up your embouchure muscles (especially your lower lip.)
You might have too much reed in your mouth, so try using less
mouthpiece
Your air stream may not have enough intensitytry blowing faster
air across the reed.
Just Right
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Tone Quality
Suggested Remedy
Squeaks or
Continuous
High-pitched
Squeal
Completely
Stopped Sound
or Intense Air
Only
You are blowing air
but none is going
through the instrument or you hear
intense air but no
sound.
Thin Tone,
Sharp Pitch
Bunched Chin
PAGE 14
Imagine thats
not a hand, its
your mouth
Biting
Embouchure
Corrected
More mouthpiece
feel for the upper
teeth to pull back
while the lower teeth
protrude forward.
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After youve finished playing for the day, be sure to swab out your
instrument. There are many different swabs available, and they basically all
work the same way. Take the mouthpiece and ligature off of the instrument.
Wipe these out with the cloth end of the swabbut never swab through the
mouthpiece itself because you can rub away or chip the inside of it.
Be sure your swab is not tangled. This is very importanttangled swabs can
get stuck in the instrument, requiring an avoidable trip to the repair shop.
Drop the weighted end of the swab through the instrument and gently pull it
through the instrument. If the swab gets stuck, do NOT pull harderpull it
back the way you put it in, untangle it, and try again. After youve swabbed
the instrument, disassemble it, dry off the joints, and put it away.
3) AwarenessBecause clarinets are small machines with moving parts,
sometimes those parts need a little care and maintenance. Here are some
signs that you should ask your band director or a repair person to look at
your instrument:
You see a screw sticking really far out. (Note: The screws on
your instrument are precisely adjusted to make it work
properly. If you think a screw needs tightening, take it to your
teacher or a professional. Unless you or your parent know what
theyre doing, you could cause serious damage to your
instrument if you attempt to fix it yourself!)
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`444
Staff:
The set of five lines and
four spaces upon which
music is written.
Each line and space of the staff has a name that corresponds to a letter of the
alphabet. Only the first seven letters of the alphabet (A through G) are used in
reading music. After G, the letters repeatso our musical alphabet goes A, B,
C, D, E, F, G, A, B, C, D, E, F, G, etc.
The notes that go on the spaces of the staff can be remembered by stacking the
letters of the word FACE. (Remember: SPACE rhymes with FACE.)
`4u6o6[6\4
E
C
A
F
The notes that go on the lines of the staff can be remembered by the saying
Every Good Boy Deserves Fudge. The first letter of each word can be stacked
to give you the notes which go on the lines of the staff.
`5y6i6p6]6a6
F
D
B
G
E
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PAGE 19
When you put both sayings together, the lines and spaces alternate to reveal
pieces of our musical alphabet. (And remember: Our musical alphabet starts at A
and ends at Gthen we repeat the same letters over again!)
`5y6u6i6o6p6[6]6\6a6
E
Our musical alphabet can be extended above and below the staff using ledger
lines. We continue alternating the pattern of lines and spaces to name additional notes.
Notes above the staff continue the pattern of lines and spaces by
adding letters going forward in the alphabet.
Example: the top line is F, so the next space up would be G,
the line above that is A, etc.
`qwertyuiop[]\asdfg
G
To figure out which note comes next below the staff, start from the bottom line of the staff (first line E), and count backwards in the alphabet.
Example: the bottom line is E, so the space below that is D, and the line
below that is C, etc.
Congratulations! You can now figure out any treble clef note name on, above,
or below the staff! The next step is to be able to look at a note and recognize it
immediately (without having to count up and down.) Use the flash cards at the
end of this book to help you practice reading notes faster.
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PAGE 20
When do I play?
Now that you can read the notes on the staff, read a fingering chart, and produce
a good quality tone on your instrument, its time to learn the terms and symbols
that tell you when and for how long you will play.
Beat
Put the first two fingers of your right hand on the front side of your neck (near
your voice box)youll be able to feel your heartbeat or pulse. Sometimes our
heart beats fast (like after youve been running) and sometimes it beats slow
(like when youre drifting off to sleep), but it is almost always steady. Music has
a steady pulse that we call beat.
Rhythm
While the underlying beat of music is always the same, we have different symbols which determine for how many beats each note should be played.
The four most common symbols that tell us how long to play a note are as follows:
Whole note
Half note
Quarter note
Eighth note
These symbols can be mixed and matched into varying patterns in music; the organization of note lengths in time is called rhythm.
Young musicians often use the terms beat and rhythm interchangeablybut they
actually mean different things. Remember: beat is always steady; rhythm can
(and often does) change.
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Learning how long each note value lasts in relation to another is a lot like using
fractions in math.
In math,
1 whole
2 halves
4 quarters
8 eighths
In music,
ee
ee
2 half notes
1 whole note =
ee
ee
When we add numbers in math, we know that if 1+1 equals 2 and 2 + 3 = 5, then
1 + 1 + 3 also equals 5. (This is known as the transitive property in case your
math teacher ever asks.)
Applying the same rhythmic equivalencies above (1 whole note = two half notes
= 4 quarter notes, etc.), we can come up with any number of rhythmic
combinations that equal one whole note:
h qq
qqqq
qhq
eeq h
q h
+ 3+ 3
3+ 3+ 3+ 3
3+ +3
7+ 7+ 3+
7+ 7+ 3+
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Time Signatures
While the last example grouped rhythms by whole notes, its actually possible to
group them in any number of ways. But how do you know how beats and
rhythms are grouped in your music?
When you are reading a piece of music, to the right of the clef sign, you will find
two numbers stacked on top of each other like this:
These symbols are called time signatures. They tell us how our notes will be
grouped in our music. These groups are called measures.
Think of the bottom number
like the denominator of a
fraction. It tells us what type
of note equals 1 beat.
As a young musician, the most common time signature you will see is called
four-four. The top number tells us how many beats are in each measure. The
bottom number tells us what type of note equals one beat. Think of the bottom
number like the denominator of a fractionif the bottom number is a 4, think of
the fraction 3. Another name for that fraction is a quarterso if the bottom
number of the time signature is 4, then we are counting in quarter notes.
The time signature
4
4
every measure. Rhythms will always need to add up so that they are equal to 4
quarter notes in each measure.
Beat:
Rhythm
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There are endless possibilities for the time signatures you can play. The only
limitation is that the bottom number has to relate to one of our possible note
values (1 = whole notes, 2 = half notes, 4 = quarter note, 8 = eighth notes, etc.)
Examples:
There are 6 beats in each measure.
The bottom number is 8, so think 7; this means that an eighth note (e)
equals one beat.
This time signature means there are 6 eighth notes in each measure.
This time signature means there are 3 quarter notes in each measure.
Rests
In addition to the symbols that tell us when we should play, there are also
symbols which tell us when we should leave silence in the musicthese symbols
are called rests. The most common rests are as follows:
Whole rest
Half rest
Quarter rest
Eighth rest
As the names would imply, a whole rest takes up the same number of beats as a
whole note, a half rest equals the same number of beats as a half note, etc. Thus,
when adding the number of beats in a measure, rests count for just as much
time as their note equivalent.
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PAGE 24
`56y5-5605-5y5-5605-5y5-5605-5y5-5605-=
E
1.
4
4
Look at the music! What is your time signature? What does it mean?
Whats your first note? Whats the fingering? Do your notes change in the
piece?
If you are not working with a teacher at the moment, it may be helpful to turn
on your chromatic tuner. (Make sure it is set to Bb so the correct notes
show up for your instrument!) The tuner will help make sure youre playing
the correct pitch.
Here we go! Think 1-2-3-breathe then play through the exercise! Hold
each whole note for 4 beats, then dont play (rest) for 4 beats during each
whole rest. You should be thinking:
Play234Off234breathePlay234Off234breathe
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PAGE 25
Great! Now that youve got that first exercise down, here are a few more! Be sure
to watch the music carefullysometimes the notes change!
`56t5-5605-5t5-5605-5t5-5605-5t5-5605-=
D
2.
3.
4
4
4
4
`56y5-5605-5y5-5605-5t5-5605-5t5-5605-=
`56y5-5605-5t5-5605-5y5-5605-5t5-5605-=
4.
4
4
Articulation
Now that youve played through your first exercises, go back and play them again
one more time. This time, think about articulation, or tonguing.
In order to tongue notes on clarinet, the tip of your tongue will touch the tip of the
reed. Find the tip of your tongue by scratching the tip of your tongue with your
fingernail or by rubbing it against the bottom of your top teeth. Stick your tongue
out of your mouth and touch the tip of your tongue to the tip of your reed (still
outside of your mouth.) Bring your mouthpiece back into the mouth, keeping the
tongue on the reed. Form your embouchure and blow air into the instrument
while keeping your tongue against the reed. (You should feel as though you are
playing, when in reality air is just backing up and not going into the instrument.)
Release the reed with your tongue, then touch the tip of the tongue to the tip of the
reed many times in a row (while constantly blowing) to understand what it feels
like. Repeat the process, but play first, then stop the air with your tongue.
Remember, the tip of the tongue touches the tip of the reed. Play all of these
exercises with good articulation, then keep going!
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PAGE 26
`56r5-5605-5r5-5605-5r5-5605-5r5-5605-=
C
5.
4
4
Are you setting your embouchure correctly? Are you holding your
mouthpiece firmly without biting?
Are you looking down at your hands to see the notes? (Remember, looking
down will negatively affect your sound!)
Are you supporting your instrument with your right thumb, but not resting
pinky fingers under the keys?
6.
`56r5-5605-5t5-5605-5y5-5605-5r5-5605-=
`56u5-5605-5u5-5605-5y5-5605-5u5-5605-=
4
4
7.
4
4
8.
`56u5-5605-5y5-5605-5u5-5605-5y5-5605-=
4
4
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PAGE 27
9.
10.
11.
12.
13.
14.
`56u5-5605-5y5-5605-5t5-5605-5r5-5605-=
`56r5-5605-5t5-5605-5y5-5605-5r5-5605-=
`56u5-5605-5t5-5605-5y5-5605-5r5-5605-=
`56i5-5605-5i5-5605-5i5-5605-5i5-5605-=
4
4
4
4
4
4
4
4
`56i5-5605-5u5-5605-5y5-5605-5i5-5605-=
`56i5-5605-5y5-5605-5u5-5605-5y5-5605-=
4
4
4
4
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PAGE 28
Take a breath after each whole note if you need to. Be sure to speed up your
air for the second note of each pair, and dont forget to articulate!
15.
16.
`5r6-5t6-5605-56y5-5u6-5605-5i6- 5r5--=
`556i6-5u6-5605-5y6-5t6-5605-5i6-56r5-=
4
4
4
4
Remember, half notes get 2 beats in 4/4 time. Dont change the way you constantly blow air when you play from any whole note exercisesjust separate
the notes by lightly tonguing where appropriate.
17.
18.
19.
20.
`56xx-6u-5605-6''-6t6-5605-xx-5r6-=
`56ll-5y6-5605-;;-6u6-5605-6x'-6r-=
`56l'-6x'-5606-;z-x;-5606-zx-6r-=
`5l;-l'-lz-506-xz-x'-x;-6r6-=
4
4
4
4
4
4
4
4
Now that you have a better understanding of how to produce a good tone,
read music, and read a fingering chart, you have all of the tools you need to
teach yourself many of the songs and exercises you will find in your band
method book. The rest of the materials in this book will help you
strengthen the skills you have already learned.
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Acknowledgements
Many thanks to all of the people who worked with me to make this project possible.
Special thanks go to:
The ABC Clinicians and Conductors for sharing their knowledge and wisdom
much of which had a direct impact on this product.
The students who volunteered to come in during their summer vacation to
participate in this project, and their parents for providing permission for their
participation. Thank you, Isabelle Keneally, Fiona Farley, Carolyn Grahn, Izaak
Grant, and Mateo Lauron.
My fellow ABC candidates who offered guidance, suggestions, and
encouragement during the process of completing this project and my colleague,
Denny dAlelio, for his guidance on bassoon.
About the Author
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PAGE 42
Spring, Robert. Clarinet Clinic, American Band College, Ashland, OR. 1-2 July
2009.
Walker, Jim. Flute Clinic. American Band College, Ashland, OR. 2-3 July 2009.
Williams, Richard an Jeff King. Foundations for Superior Performance: WarmUps & Technique for Band (Conductor Score). San Diego: Neil A. Kjos
Music Company, 1998.
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