THE DEVELOPING CLARINET PLAYER:

NEW MULTI-GENRE, PAN-TECHNICAL REPERTOIRE

by

BRADLEY DAVID MILLARD

Bachelor of Music (Queensland Conservatorium of Music)

Licentiate in Music Australia (Australian Music Examinations Board)
Licentiate Trinity College of London
Associate in Music Australia (Australian Music Examinations Board)

Creative Industries Faculty

Queensland University of Technology

Submitted for the award of Master of Arts (Research)

December 2007
 ABSTRACT
Those undertaking the study of a musical instrument may focus on a specific genre
of music or diversify through exploration of a range of styles and forms. Students
wishing to gain insight into a variety of styles may seek guidance from a number of
sources, particularly in their formative years. In the interests of achieving stylistic
authenticity and in the absence of teachers with wide-ranging musical experience, the
student may seek direction from repertoire and pedagogical resources. This research
aims to address a deficiency in existing repertoire and teaching materials for the
beginner to intermediate classical clarinet player by contributing to and extending
current resources.

The thesis is presented in two parts - folio (60%) and exegesis (40%):

The folio involves the creation of a series of original works written in a range of
archetypal jazz, popular and classical music styles, aimed at providing a level of
instructional support for both student and teacher in the achievement of stylistic
integrity. This is realised through the inclusion of annotations and recommended
practice strategies for each piece, as well as a general guide to style section. To be of
further educational value to the student, compositions in the folio incorporate both
traditional and extended techniques.

The exegesis reviews current leading instructional manuals and repertoire, discusses
their strengths and weaknesses and identifies areas where resources are deficient. It
analyses and presents an overview of compositions in the folio and provides a
detailed commentary of the compositional process, using a selected work as an
exemplar.

Given the nature of the folio, which is aimed at the young clarinet player and teacher
and commences with advice on style followed by a series of compositions, the
exegesis precedes the folio in this thesis.

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 CONTENTS

ACKNOWLEDGEMENTS v

LIST OF ABBREVIATIONS vi

STATEMENT OF ORIGINAL AUTHORSHIP vii

EXEGESIS 1

CHAPTER 1
Introduction and Background to the Study 1
Structure of the thesis 1
Rationale for the study 1
My musical beginnings from childhood to teenage years 3
Transition from teenager to tertiary student 4
From pre-professional to professional performing and teaching musician 6
My career to date as a professional music educator 6
The research question 7

CHAPTER 2

Literature review 9
Repertoire trends - a shift in focus 9
Repertoire for the beginner to intermediate clarinet player 12
Method books for clarinet 13
Group method books 14
Individual method books 16
Technique for clarinet 20
Performance repertoire for clarinet: genre-specific 22
Performance repertoire for clarinet: genre-diverse 25
Summary 32

CHAPTER 3
Methodology for the Study 34
Practical application of the guiding principles 39

CHAPTER 4

The Compositions 44

Table: Overview of Compositions and Characteristics 46

Liquorice Stick an analysis and commentary 49
Analysis of works and description of compositional process 58

CHAPTER 5
Conclusion 65

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FOLIO 67
Introduction to Style Guide and Practice Strategies 68

General Style Guide 69

General Suggestions for the Clarinet Player 72

The Compositions 74
Liquorice Stick 75
Mellie the Excitable Dog 79
Surfers Paradise Salsa 85
Rock It Man 92
Clarimania 99
Foofaraw 107
African Rhapsody 113
2 Cool 4 Skool 121
Important Occasion 126
Aunty Hilda 129
Strange Goings On 133

WORKS CITED 139

BIBLIOGRAPHY 141

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 ACKNOWLEDGEMENTS
I would like to thank my supervisor, Dr Adrian Thomas for his guidance and advice.
Thanks also goes to Richard Vella for his suggestions. I wish to acknowledge the
contribution of a number of people from libraries and music retail outlets who
assisted me during the process of completing this thesis. Finally, I would like to
express my appreciation to my family and friends for their constant support and
encouragement.

v
 LIST OF ABBREVIATIONS
AMEB Australian Music Examinations Board
ANZCA Australian and New Zealand Cultural Arts
CD compact disc
DVD digital video disc

vi
 STATEMENT OF ORIGINAL AUTHORSHIP

The work contained in this thesis has not been previously submitted to meet
requirements for an award at this or any other higher education institution. To the
best of my knowledge and belief, the thesis contains no material previously
published or written by another person except where due reference is made.

Signed: _____________________________________

Date: _______________________________________

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 EXEGESIS

CHAPTER 1

Introduction and Background to the Study

Structure of the thesis

This practice-led research submission for the award of Master of Arts (Research)
comprises a folio of original, annotated compositions and documentation (style guide
and practice strategies) for clarinet and piano (60% of total thesis) and an exegesis
(40% of total thesis).

The constituents of the folio are:

Original works to extend the solo clarinet repertoire (clarinet with piano
accompaniment) and to contribute to the body of original Australian music,
addressing pedagogical issues in the areas of development of a response to style and
practice strategies. This takes the form of eleven compositions written in a diverse
range of archetypal jazz, popular and contemporary classical music styles, aimed at
beginner to intermediate level clarinet players. Annotations - accompanying
directions on style and indications for performance - are included, as well as general
advice for the young player. Also included is a range of fundamental traditional and
extended techniques on the instrument, intended to provide the student with both a
solid technical grounding and an introduction to the concept of expanded techniques
and possibilities for further exploration of tonal colours in order to achieve a broader
understanding. The addition of practice strategies is intended to assist the student and
teacher to focus on the most apposite features of the piece in relation to stylistic and
technical demands.

Rationale for the study

I have long held the view that musicians are capable of proficiency in a range of
genres and styles. It has been my experience that many classical musicians attempt
this, with varying degrees of success. In the absence of teachers skilled across a
range of styles or without access to informative repertoire, those steeped in the

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classical music tradition who set about learning to play other genres have a limited
chance of appropriately capturing style. This has been a principal motivation for the
present study.

Through my experience as a clarinet student, teacher, professional musician and

examiner and by a review of available clarinet literature, including commonly used
teaching materials for young classical players, I have identified a significant gap in
knowledge: jazz, popular music, contemporary techniques and concomitant musical
idioms are underrepresented for the classical clarinet learner and classical teacher.
Repertoire written in these styles at an appropriate level exists, but sparsity of
instructional support or in many cases even phrasal and articulatory detail assumes
idiomatic insight that the classical trained student and teacher do not necessarily
possess. To address this, to extend knowledge in this area and to make a contribution
to Australian music as a whole, I decided to compose a varied range of original
pieces for beginner to intermediate clarinettists which broaden the students exposure
to and focus on the understanding of the styles identified above. This is achieved
through the incorporation of detailed articulation, phrasing and contemporary
techniques together with advice on performance technique and idiom realisation
through the use of speech-related applications and annotations. The inclusion of
practice strategies for each piece is designed to help the student achieve focus and
direction for effective learning. I based the pieces on classical technique to contribute
to the albums value as a teaching resource, as well as through consideration of the
background of the intended recipient.

Rather than being proffered as an all-encompassing resource, the folio of original

compositions is intended to increase the classically-trained clarinettists cognitive
skills and understanding of style by contributing to learning and teaching resources
currently being used by the student and teacher. The addition of extended
instrumental techniques in a number of pieces is intended to expand the players
concept of technical and timbral possibilities. Given the likely young age of student
clarinettists exposed to these compositions, an emphasis on enjoyment has
underpinned the creation of each work.

The syllabus of the Australian Music Examinations Board (AMEB) has been chosen

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as a principal reference point for much of this exegesis, given both the popularity of
the AMEB system in Australia and my connection with the syllabus as an examiner
and previously a student. The AMEB, having been established as a national body in
1918, is a leading system for music examinations in Australia and internationally and
competes for candidature with other private examining bodies operating in the
country such as Trinity College of London, the Associated Board of the Royal
Schools of Music and Australian and New Zealand Cultural Arts (ANZCA). During
the course of this research a review of the AMEB clarinet syllabus occurred. This
further influenced the study, as will be discussed later.

My musical beginnings from childhood to teenage years

We are all products of our upbringing. It is inescapable not to have been influenced
and shaped by our past experiences as well as through exposure to teachings and
other factors from our parents, friends, educators and other people and events of
significance. Further, we are affected and influenced by situations and experiences
that we both like and dislike.

In the mid to late 1970s, as a teenager involved in the study of music, classical music
was the main focus of my musical education, but was one of a number of styles of
music in which I was interested. I was also drawn to the infectious nature of jazz and
popular music, but did not possess the musical intelligence, analytical skills or
understanding needed to accurately reproduce such styles on my instrument - I was
aware only that these other musical styles appealed to me.

My teachers were skilled exponents of classical music and were able to provide
reliable advice on response to style within that genre, but lacked experience and
insight in many styles aside from the classical canon. As a result, I sought guidance
from sources other than my teachers in the form of repertoire and associated learning
and teaching materials commensurate with my level of understanding. Searches for
appropriate resources exposed a deficiency in this regard. Material did exist for the
learning of improvisation specifically, and sheet music was available for the bulk of
the standard or mainstream jazz and popular music repertoire, but more structured,
formalised repertoire or pedagogical resources which included explanations on

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achieving appropriate style across a range of genres and styles were non-existent. In
the absence of suitable resources and teachers experienced in a wide range of jazz
and popular music styles, I developed an understanding of and ability to perform
these and other styles of music by listening to advanced exponents, imitating their
performance style and through trial and error. With persistence over time, I made
some headway with this rather haphazard approach, though on reflection my
progress would have been faster and more thorough had I access to more relevant
repertoire graded to suit my developing technique and musicianship and/or
educational resources containing detailed instructions.

With regard to classical music repertoire, given the low profile of contemporary
classical music in Brisbane at that time, I was unaware that in addition to the
conventions of traditional technique typically associated with the early years of
instrumental study, there existed a field of non-traditional techniques and tone
colours which allowed for a still greater range of self-expression - the area known as
extended or contemporary techniques. These were part of what was considered
very much a specialised field at that time and furthermore, were usually only
introduced at an advanced level, if at all.

A central part of my musical training was to undertake examinations within the

AMEB syllabus. The AMEB system - the graded repertoire on offer and its solo
examination structure - was a major influence in my musical upbringing and I
completed a number of examinations from the syllabus as will be revealed. It was to
become an integral part of the present study.

Transition from teenager to tertiary student

My transition from a student clarinet player in his early teens to a tertiary music
student involved the aforementioned formal, structured approach to classical clarinet
study, as well as a relatively unstructured method of developing my skills and
understanding of jazz and popular music. My efforts to learn jazz included practising
Dixieland and mainstream jazz pieces from sheet music and occasionally playing in
my mothers dance band. The sheet music contained the musical notation, but
assumed understanding on the part of the player, for it contained very little phrasing

4
and articulation detail concerned with capturing the style of the piece. As a result, my
approach to learning how to play these pieces was rather arbitrary.

A turning point in my jazz development occurred when I attended week-long jazz

camps over two consecutive years with the leading Australian jazz clarinettist, Don
Burrows. Don advised me to work on my feel for the music before attempting to
become a proficient improviser. His opinion was that to develop a response to style
was a higher priority than learning how to improvise at the expense of style. Don
Burrows cited no literature to assist in this regard; instead, he suggested practising a
home-made percussion instrument - a shaker - formed by inserting a small handful of
uncooked rice into an empty, dry plastic shampoo bottle or similar. Don said that
learning how to play a shaker in time and with ease would assist in my development
of a relaxed and easy feel which I should then transfer to the clarinet. My
observation that Don Burrows had not recommended any literary support is to me an
indication that there existed no such pedagogical resource at the time.

While attending the camp, I purchased some vinyl records featuring the Don
Burrows/George Golla duo and it was these records that were pivotal in the
development of my understanding of jazz style. In the absence of suitable repertoire
or a text on the subject, I listened to various tracks over and over again until I was
able to replicate note for note what Don Burrows played. As well as copying each
note, I imitated Dons style - his phrasing, articulation, dynamics, intonation and
inflection. After much time and effort, I was able to play along with the tracks I had
learned to imitate.

I began imitating the performance style of others on recordings. Although this was
the principal way I developed the ability to play and understand jazz, development
also occurred through playing with other musicians, listening to recorded and live
performances and through trial and error. It was rather haphazard, but these were the
only methods I knew. Through this means, over a period of some eight years I
progressed and became reasonably proficient at capturing jazz and popular music
style. However, I still was not sure why I was inflecting notes and phrases in certain
ways - I was doing so more and more intuitively, but was frequently uncertain about
the accuracy or validity of my efforts. In hindsight, with further guidance through a

5
greater range of learning methodologies such as clear and detailed texts and skilful
mentors and teachers, I would have progressed considerably faster and had a much
clearer understanding of the genre as a whole.

From pre-professional to professional performing and teaching musician

After leaving school, I was accepted as a student of clarinet at the Queensland

Conservatorium of Music, where classical music performance remained my focus. I
had developed a fundamental concept of jazz style, but in the interests of gaining
further experience and greater insight, I joined the inaugural conservatorium big
band, directed by conservatorium staff members. The staff members were highly-
skilled musicians and were well-meaning, but like most of the members of the
ensemble, came from a classical music background and had little experience or
knowledge of jazz and popular music style. Participation in the big band exposed me
to a wider range of repertoire than I had previously encountered and was a great
experience in many ways, but was of limited value as a means of significantly
increasing my understanding of style.

As my performance skills improved, I began to gain professional experience in a

variety of musical styles and settings. The range of styles included orchestral work,
musical theatre, the corporate band circuit and other ad hoc engagements such as
television telethons, recording session work and supporting various touring artists. I
played with and for various leading musicians and performers. These included
original members of the Glenn Miller Big Band, former members of the Buddy Rich
Big Band and Duke Ellington Big Band and leading English musicians who were
touring in bands supporting the likes of Shirley Bassie, Elaine Paige and Tim Rice. I
also played in ensembles that supported Australian artists such as Don Burrows,
George Golla and James Morrison with leading musicians from Sydney and
Melbourne. By listening to, talking with and imitating the style of these musicians, I
continued my path of development as a jazz and popular music instrumentalist.

My career to date as a professional music educator

As a professional music educator, clinician, examiner and performer on clarinet and

related instruments for more than twenty-five years, I have had experience across a

6
diverse range of musical styles and settings. In my capacity as a clarinet and
saxophone teacher in both one-to-one and group lessons as well as through positions
as musical director in the areas of chamber music, big band, jazz ensemble and
popular groups, I have worked with student musicians from beginner to pre-
professional level and have observed methods and forums of learning a wide range
of western music genres. Additionally, a substantial portfolio of engagements as a
music education consultant has involved leading workshops and masterclasses in
individual instrumental and ensemble performance, improvisation and theory, as well
as conducting rehearsals and performances. In these roles, I have worked with school
groups, community organisations, professional and private music education bodies
and professional ensembles. As an AMEB examiner I have examined clarinet and
saxophone players from beginner to advanced level over many years. Through my
experiences in the range of professional activities listed above, I have confirmed my
lifelong belief that the area of least understanding, competence and confidence
among students and teachers is command and understanding of style and associated
aspects such as phrasing.

The research question

Classical, jazz and popular music genres are all native to the western world. In its
various forms, classical music has existed for hundreds of years, but jazz and popular
music, as we know it today, was not evident prior to the twentieth century. While
classical music conventions of performance, theoretical and educational
epistemologies for the student musician have been developed, refined and
standardised over some considerable time, similar models in jazz and popular music
are still being developed. In the early stage of the rise of jazz and popular music, skill
acquisition generally occurred through imitation or replication of leading
practitioners. Merit in this method is acknowledged, but critical and cognitive
thinking as exemplified in the classical music tradition has resulted in more formal
and structured modes of learning being sought. This is especially true for those
steeped in the classical music canon. Furthermore, early practitioners of jazz and
popular music styles were typically illiterate, but much of the music encountered
now is notated in some form.

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In its infancy, in the latter part of the nineteenth century and the early twentieth
century, most jazz music was not notated at all. This was also the case with much
popular music in the 1950s and 1960s. Even today, works regarded as being
mainstream or standard characteristic jazz and popular songs are usually notated in a
form that does not contain the same amount of detail as classical music. Jazz and
popular music is often referred to as an aural tradition and some today still maintain
that it should be learned accordingly. However, the worldwide existence of jazz and
popular music courses of study at school and tertiary level supports the view that
these genres can be studied in a formalised, structured way. It should be noted that
western classical music was itself regarded as an aural tradition in its genesis and
was similarly not notated until after many years of practice. It now has a rich history,
universally recognised and practised, of approaches to teaching and learning based
on notated music. Although a significant amount of jazz music relies on musicians
improvisational skills, a firm understanding of stylistic awareness is necessary in
both improvised and notated jazz music.

I have recognised there exists parallel issues between my own lack of understanding
as a student musician across a range of musical styles and a similar trend amongst
students today. I have asked myself why this is the case. Are there resources
available today which address this issue and if so, to what extent? How are these
resources structured? How enlightening are they?

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 CHAPTER 2

Literature review
This chapter will review a wide selection of repertoire and other resources available
to the young classical clarinet player and teacher. Using the AMEB second grade
clarinet syllabus as an exemplar, the first section will look for any shifts in the nature
of repertoire over the past thirty years. Second Grade has been chosen for this
purpose because a grade-two-standard piece in my composition folio, Liquorice
Stick, has been used in Chapter 4 to demonstrate my compositional process in detail.
After comparison of AMEB second grade syllabi, discussion of a body of eclectic
repertoire separated into relevant categories will show a cross-section of that which
is available for the classical clarinet student wishing to diversify across a range of
genres and styles. It will examine repertoire created by leading composers in their
field - repertoire which offers the student exposure to a breadth of styles and the
degree to which it is accompanied by concomitant stylistic guidance and practice
advice. I have deliberately not sought classical works to review, because this review
is aimed at classically trained students wishing to diversify.

Repertoire trends - a shift in focus

As alluded to earlier, the AMEB is a leading designer of performance music

curriculum in Australia. Current practice within the organisation is the publishing of
grade books for a number of instruments, the clarinet included. The editor for the
current series (series 2) was Brisbane clarinettist Ruth Bonetti. In the foreword of
Clarinet Second Grade Series 2 the then National Manager, Ann Blore described the
AMEB as Australias pre-eminent music examinations body. (Australian Music
Examinations Board and Bonetti 2000b p. 2) As a means of comparing repertoire for
the classical clarinet student from thirty years ago to that available today, it is
instructive to make a comparison between the AMEB clarinet syllabuses from 1976
and 2007. The second grade examination syllabus has been chosen as an example,
given it fits within the beginner to intermediate level concerned with here. As will
be seen, the previously classical-music-only domain of the AMEB is now populated
with a far wider range of styles from jazz, popular and classical music.

9
Candidates undertaking an AMEB examination at the level relevant to this present
study are required to present a range of pieces, including one of their choice from
each of lists A, B and C. These are the three main works required in the examination,
as was also the case in 1976. Normally, pieces in List A are unaccompanied studies
or etudes, while those from Lists B and C are works accompanied by piano. List B
and List C pieces usually differ from each other in their origin too, though this is
more clearly the case in the current syllabus than in 1976. List B pieces are generally
earlier works derived from the Baroque or Classical periods, while List C pieces are
usually more recent works, in most cases having been composed in the Romantic or
Twentieth Century periods of music.

1976 AMEB Second Grade Clarinet syllabus

As can be seen from the 1976 Second Grade Clarinet syllabus requirements above,
candidates had a choice of five pieces from each of Lists B and C. The most
modern piece from either List B or C was To a Wild Rose by the American
composer Edward MacDowell (1860 - 1908). Other choices included works from the
Baroque to late Classical periods by Schubert, Mozart, Beethoven, Bach and Haydn,
as well as a small number of lesser-known composers.

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A comparison between the second grade syllabus from 1976 to that of 2007 clearly
shows a shift in the choice of style, as well as a significant increase in the number of
works available for selection. Today, candidates may choose one of fifteen pieces
from List B and one of eighteen pieces from List C, a number of which are derived
from jazz and popular music.

2007 AMEB Second Grade Clarinet syllabus

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Referred to earlier, AMEB grade books are compilations of pieces taken from Lists
A, B and C in the syllabus that a candidate may present in examination. There are
two series of books for clarinet, both comprising one book for each of grades 1 4,
with each book containing three or four pieces from each of Lists A, B and C. The
first series was published in 1992 and the second in 2000 and the pieces in both
series are still eligible for examination. Further evidence of a trend towards an
increase in the inclusion of jazz and popular music in the hitherto classical focus of
the AMEB clarinet syllabus can be seen by a comparison between the series 1 and 2
grade books. Of the thirteen List C pieces from grades 1 4 in series 1, one is written
in a jazz style. In series 2, published just eight years later, six of the twelve published
List C pieces are derived from jazz and popular music. The increase in numbers of
non-classical works over such a short period demonstrates the rise in popularity of
jazz and popular music into a previously classical-music-only curriculum and further
justifies the need for educational support for students and teachers tackling styles
possibly unrelated to their areas of expertise. One way the AMEB has attempted to
address this is through a feature of the more recent series - the provision of
Performance Notes for each work. This aspect, as well as closer scrutiny of
specific pieces in the grade books, will be discussed later in this chapter.

Repertoire for the beginner to intermediate clarinet player

Compared to repertoire for the advanced player, pieces written for the beginner to
intermediate level clarinettist are typically brief. This is due largely to the inability of
the younger player to cope with the physical stamina and concentration required of
playing the instrument for a long period of time. As a result, it is more common to
find repertoire pieces for players at the level in question here in albums or
compilations rather than presented as stand-alone pieces.

The study of a wide range of repertoire and other resources for the student clarinettist
reveals that each item can be classified as belonging to one of the following types:

1. Method Books for clarinet

a. Group Method Books
b. Individual Method Books
2. Technique

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3. Performance repertoire: genre-specific, for example all jazz pieces or all classical
pieces.
4. Performance repertoire: genre-diverse, for example combinations of styles, such
as classical, jazz and popular music in the one publication.

Consideration of each of the above repertoire categories discloses that the type most
relevant and applicable to this study is that found under Performance repertoire:
genre-diverse, though all four types contain in part some similarities to the nature of
this study. A brief description of each category will follow, though due to its greatest
relevance, Performance repertoire: genre-diverse will be focused on and the works
of leading international exponents of this type of repertoire analysed and discussed.

Method books for clarinet

It is customary for beginner instrumentalists to commence lessons using an

instrumental method book as their principal or even sole reference book. Such is
their importance, they often remain an important resource for both student and
teacher for up to two years. The content of clarinet method books is typically wide
and varied, though it can be expected that in each, one would find at the very least a
progressive series of exercises, etudes, solo and group pieces based on the
introduction of new notes, rhythms and articulations. Usually included is some
degree of basic theory as well as information on a range of fundamental aspects of
clarinet playing such as assembly, care and history of the instrument, posture,
fingerings and technical tips, embouchure, breathing and tone production, tonguing
and style. A trend in more recent method books is to cover a more eclectic range of
styles, as will be discovered in this review.

Within the range of method books available, there are two main types - those
designed for group teaching and those written for the individual in one-to-one
lessons. For the clarinet player, leading method books of both types in use
internationally are discussed below. A notable recent addition to a number of
leading, but not all, method books or other sheet music is the CD or DVD or both.
CDs and DVDs may contain so called play-along tracks which allows the student
to play along to a pre-recorded accompaniment. Some CDs contain demonstration

13
tracks, where the student can listen to a professional player or synthesised clarinet
demonstrating the melody first before tackling the melody line on their own, either
with or without the play-along track.

Group method books

The three group teaching method books reviewed here, Essential Elements 2000 Plus
Book 1 (Lautzenheiser, Higgins, Menghini, Lavender, Rhodes and Bierschenk 1999),
Standard of Excellence (Pearson 2004) and Accent on Achievement Book 1 (O'Reilly
and Williams 1997), have been chosen because they represent a cross-section of this
type of method book and are universally regarded as being the leading methods of
this type.

Essential Elements 2000 Plus Book 1 is a group teaching method book, designed for
the American high school system centred around band-orientated learning. A DVD is
included with the book, which contains tracks dealing with assembly and
disassembly of the instrument, playing position, tone production and playing the first
note. There are play-along tracks included on the DVD, though these contain audio
only. As the beginner progresses, the pitch range is expanded through the
introduction of new notes. It also includes basic theory, two pages of unexplained
rhythm studies and a reference index containing definitions of terms, composers and
a list of world music pieces in the book, with music from Africa, America, Australia,
Austria, Canada, the Caribbean, England and various European countries. In most
cases, there is only one piece derived from a particular country and the pieces tend to
be either folk-related or classically-orientated.

All pieces in the book are brief, as appropriate to this level. The selection of
American pieces includes American Patrol which, although a jazz-orientated piece,
is marked Allegro in the book, giving no real clue as to style and inflection. When
the Saints Go Marching In is also marked Allegro, resulting in the same blurred
signals to the young player. Beyond the Allegro indication, there is no clue
provided in relation to style. One could argue the same applies to a classical work
marked Allegro, though it should be remembered that the use of Italian, French and
German terms is the norm in most classical music. Jazz and popular music pieces
usually have terms written in English such as medup swing (medium to up-tempo
swing) or slow bossa (slow tempo, bossa nova in style).

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Essential Elements 2000 Plus Book 1 also contains Daily Warm-Ups, including tone
builder and flexibility study, but no information on how to practise. Interestingly,
Essential Elements 2000 Plus Book 2 also includes a version of American Patrol,
this time marked moderato but written with different note values from the version in
book 1. Again, there is no instruction about swing or style generally.

Bruce Pearsons Standard of Excellence, subtitled Comprehensive Band Method

Book 1 (of two), is also a group-teaching method book based on the American band
system of learning. It includes two CDs including audio play-along backing tracks
and iPAS Assessment Software. This method book contains appropriately short
pieces throughout, contains basic theory, introduces new notes as a natural
progression of learning and includes sections for clarinets only and woodwind only.
There are short exercises called excellerators - for clarinet only which are tone and
fingering exercises, with suggested alternative fingerings provided.

An interesting inclusion is the iPAS software. iPAS software allows the student to
play to a backing track and to record their performance. According to the publishers
website, iPAS software evaluates a students performance using the following
set of criteria note correctness, rhythmic and pitch accuracy and note duration.
(Kjos Music Company 2006) Specific instructions for achieving the above qualities
are not evident. The inclusion of some scale-based exercises is useful. No
instructions on style are apparent throughout the method - presumably the intention
is for the young musician to imitate the style of the accompaniment track. There is a
range of styles evident in this book, though again, specific, detailed advice on
achieving stylistic accuracy is not evident.

The final band or group method for clarinet reviewed here is Accent on Achievement,
which, like the previous two group methods, includes play-along CDs. The authors
have included a brief welcome to the band student, which reads As a skilled band
musician, you will be able to play a wide variety of musical styles from symphony to
jazz, from contemporary pop to marching band. (O'Reilly and Williams 1997 p. 1)

Here, the allusion to style could be construed as meaning the book will include an
emphasis on achieving an understanding of style. There is no clear evidence of this

15
being the case, however, apart from the opportunity for the student to attempt to
imitate the style of the CD backing tracks. The book has sections on assembly of the
instrument, naming components, fundamental theory, introduction of new notes,
catchy titles and the use of graphically represented pictures.

Individual method books

Learn As You Play Clarinet by Englishman Peter Wastall is the method book I
preferred when teaching students of the appropriate (beginner) level several years
ago. The original version had a cassette available for separate purchase which
contained the accompaniment for various pieces in the book, though a separate piano
accompaniment part was also available. It now comes with a CD or cassette
containing the same accompaniments. The book is structured in separate two-page
sections called units, with three concert pieces appearing at the end of each
eight-unit section. The pieces in this method book represent quite a broad range of
styles. A feature of each is the presence of detailed articulation, though no further
instruction, practice tips or strategies targeted at specific pieces or techniques
concerned with style can be seen.

A New Tune a Day for Clarinet Book 1 by Ned Bennett is an updated version of the
iconic method book A Tune a Day for Clarinet Book 1 by C. Paul Herfurth, which
was published in 1942. It now includes a DVD and audio CD. A notable difference
between the original and updated versions of the method book is the addition of
pieces from jazz and popular music genres, such as Little Brown Jug, Joshua
Jazz and The Entertainer. There is an explanation of swing in Lesson 18 on page
56 though it is less than half a page long In classical music all quavers are played
exactly as written: that is, lasting half as long as a crotchet. In jazz, however, quavers
are normally played unevenly, with the first of each pair longer than half a beat and
the second shorter to compensate. This is called swing. (Bennett 2005 p. 56) The
book does include some phrasing detail but very little articulatory detail.

Henry Lazarus The New Lazarus Tutor Book 1 is also an older, iconic method book
which has been given a more modern treatment. It contains an introduction to jazz.

16
The editor states:
jazz, in all its forms, has its origins in rhythm. When playing jazz it is
essential that the player feels the rhythm that applies to the jazz being played.
The important discipline to be learnt at this stage is the interpretation of the
half beat or the sub-division of the crotchet or quarter note.

This is written or

The notation of is usually played

The notation of in a slow tempo can also be played

but in a medium or fast tempo the quavers or eighth notes are played in strict
time observing that the accent is given to the off beat such as the second
quaver or eighth note e.g.

(Lazarus 1994 p. 54) This could be a little confusing for the young player. A couple
of pieces follow written for clarinet and guitar, but are not marked as being in a jazz
style as such.

The Rubank Elementary Method for Clarinet (Hovey 1934) was published as early as
1934 but was still quite widely used when I was a student. It follows a very
traditional approach, comprising largely exercises built on scales and arpeggios and
other short key-related studies. There are no catchy titles, there is limited use of
articulation and stylistically, the book is firmly entrenched in the classical music
tradition. No advice on style or suggestions for practice is evident.

Enjoy Playing the Clarinet is an Australian work, written by Brisbane clarinettist

Ruth Bonetti. Its most recent edition has a piano accompaniment part available
which is published separately from the method book itself. Enjoy Playing the
Clarinet is mostly classically-orientated, but includes some variety of styles, with
pieces such as Jamaican Rumba, Stranger on the Shore, In the Mood,
America from West Side Story and Happy Birthday To You. Some brief tips on
practice and some entertaining exercises are evident in places.

17
Another Australian method book is Teacher on Tap, by Richard Percival and Peter
Dorich. This method comprises the usual advice on fundamental aspects of clarinet
playing, such as assembly, posture, breathing and embouchure formation. It includes
a lesson plan section, practice routines, key/scale outline, technical studies and
pieces. Teacher on Tap does contain practice strategies, though these relate less to
specific pieces and more to practice routines of a general nature. Instruction related
to achieving style across a range of styles is not apparent.

As stated on the front cover of Progressive Beginner Clarinet, it covers a variety of

styles including classical, jazz, pop and rock, along with an introduction to
improvising. (Gelling 2001) A further statement reads Progressive Beginner
Clarinet assumes you have no prior knowledge of music or playing the clarinet. No
previous music knowledge or experience is necessary. (2001 p. 4) The book comes
with a CD which includes musical examples. The book shows you where to put
your fingers and what technique to use, while the recording lets you hear how each
example should sound. (2001 p. 5) It includes broad advice on practice, as well as
the usual assembly of and how to hold the instrument, introduction of new notes and
basic techniques. It does introduce swing rhythms. This is done by writing a triplet
rhythm including the counting underneath, then tied triplets, then as the rhythms
would normally be written, in a similar way to that seen here:

then then

where

However, there is little evidence of articulation markings leading to appropriate

phrasing. Despite this, a positive inclusion is one exercise of four bars duration, two
bars of which include appropriate articulation and phrasing of the type seen here:

The method includes transposition, fingering and key signature charts. Interestingly,
this book uses the American style of notation in preference to the English system
usually used in Australia, referring to crotchets as quarter notes, quavers as eighth

18
notes and so on. The introduction to improvisation would be more useful if the
player had some prior knowledge. For instance, Lesson 16 presents enharmonic
notes, the blues scale and riffs. It explains what they are but doesnt take this any
further, as the following section (lesson) introduces the 16th note. There is no clear
connection between the blues scale, riffs and their application to improvisation.
There also exists some useful information on major and minor keys and scales
including the natural, harmonic and melodic minor scales. This part is useful as a
reference section, but seems too advanced for the young player. As mentioned, the
inclusion of accurate, stylistically appropriate swing phrasing is a positive addition,
though its presence is minimal, which possibly sends a message to the student that
this aspect is not particularly important.

Of the range of method books reviewed here, a trend in the more recent publications
is the introduction of a greater variety of styles, most notably in the areas of jazz,
popular and world music. Given the breadth of styles and mix of genres present, it
might be expected that a number would include specific, focused advice on phrasing
and style, though this survey revealed that to be not the case. While some books
contain some advice on certain styles, overall they offer very little assistance in this
regard, ostensibly leaving this most important factor in the hands of the student and
teacher. Without prior experience in a particular style, the potential for success is
affected; certainly, the answers to questions of style must be found elsewhere. Some
texts suggest practice strategies for some aspects of playing, though these are almost
always of a general nature and do not relate to a specific piece or the style contained
within.

A notable inclusion in some books is the CD or DVD or both and in one case, access
to computer software. The occurrence of this recent addition to some method books
is noted, though again, the chances for gaining stylistic insight occur through the
ability of the student to emulate the style of the accompaniment through osmosis
rather than through applying principles learned through clearly articulated textual
instruction. The usefulness of having access to a pieces musical backing on one of
the above media is acknowledged it allows the student to rehearse indefinitely with
the accompaniment in the practice room and to develop consistency in performance.
However, given the backing remains identical each time, it also encourages a static,

19
non-spontaneous performance style, the opposite of which can be achieved through
interaction with another live musician or group of musicians in the moment.

Technique for clarinet

Typical resources of this type for the clarinet include studies, etudes, exercises, texts
on improvisation and extended techniques. Of the books containing studies, etudes or
exercises, each one is designed to serve a particular purpose. Some concentrate on a
fundamental area of clarinet playing such as finger technique, breathing, tone
production, tonguing, intonation and so on. Many focus on idiosyncratic
characteristics of the instrument within one or a number of those fundamental aspects
of the clarinet.

Books on improvisation usually combine theory with practice. The Jamey Aebersold
Play-Along Series is a leading example of a resource for learning improvisation.
Produced for a range of instruments and organized according to the keys of each
instrument, the Jamey Aebersold series is available for Bb, Eb, C and bass clef
instruments. There are 120 volumes in the series and each comes with a play-along
CD. Some volumes are exercise or study based, such as Volume 2 Nothin But the
Blues and Volume 3 The II-V-I Progression. These present the scale-chord theory
behind the music and allow the musician plenty of scope to work on familiarisation
with harmonic, melodic and rhythmic relationships. Other, later volumes often focus
on a strand of jazz or the music of a leading exponent, as in the case of Volume 64
Salsa/Latin Jazz and Volume 108 Joe Henderson Inner Urge respectively. The books
usually contain background information on the style of that volume and in some
cases a discography, recommended reading and nomenclature used in the book.

Jazz Technic, written by one of the great jazz clarinet players, Artie Shaw, is not a
method for learning the instrument as such. Rather, it focuses on supplying the
reader with scalic, chordal and theoretical information required for jazz
improvisation in a similar way to that of the Aebersold series and others like it. A
selection of rhythmic exercises is also provided. Its contents includes whole tone
scales, whole tone exercises, throat tone studies, slurred semitones in various
intervals, arpeggios and rhythmic figures and a sample from the Artie Shaw

20
Concerto for clarinet. A brief explanation of each follows, plus a short, broad
suggestion for practice in general. There are no explanations of style.

The classical music equivalent of the Artie Shaw book is Note Cruncher by New
Zealand born Australian resident Mark Walton, which comes with a CD and contains
a combination of studies, scales, arpeggios and duets. It is designed to support the
improvement of finger technique and basic theoretical understanding in relation to
scales and arpeggios and is typical of classical resources of this type.

Two publications dealing with extended techniques are Allen Sigels book The
Twentieth Century Clarinetist: Advanced Studies in Contemporary Music for the
Clarinet. The target audience for both is clearly the advanced player. The former
contains auxiliary fingerings and trill fingerings, with exercises and studies which
tackle these and other more advanced musical components such as rhythmic
complexities. This is a text-based, comprehensive work which describes techniques
like glissando and portamento, flutter tonguing, teeth on the reed, air sounds,
vocalizing while playing, mouthpiece alone and electronic applications among
others.

Dutchman Erik Veldkamp created Play em right latin volume 2, published in 1999.
The book is for the player wishing to become well-versed in the varied styles of
light music attention given to various bass rhythms and articulation techniques
(Veldkamp 1999 p. 3). It is essentially a style technique book with the clear
purpose of exposing the clarinet student to latin phrasing styles. Some performance
pieces do appear at the end of the book, though the majority encompass repetitive
exercises with detailed articulation. Further evidence of this objective can be seen
through examination of a section informing the student of numerous
articulation/phrasing markings and what these mean. Veldkamp suggests relating
these to singing or saying phonetic sounds like dat, dap, du or du-wap in a brief
section at the beginning of the book. No other assistance for the player is present.
The book includes chord symbols for piano or guitar, but no accompaniment part as
such exists.

21
From the above it is clear supplementary material may take a number of different
forms. They are usually focused on a particular area or technique such as
improvisation instead of the achievement of understanding of style. Of these, the
majority are structured on a theoretical basis, where the chord-scale relationship is
explained and exercises and pieces put in place as vehicles.

Performance repertoire for clarinet: genre-specific

Genre-specific works are so called here due to their origins within the same broad
musical field, such as classical or jazz or popular music. A survey of repertoire of
this type showed that this category represents the majority of all existing resources
for the clarinet. Similarly, it represents the major type of works found in the AMEB
syllabus. Genre-specific repertoire assumes the player and/or teacher possesses a
basis of the understanding of style, or that that aspect will be researched in some
way. Where the publication is derived from a genre which is the focus of the
students lessons, the assumption presents no obvious problem.

An example of a music resource designed to teach jazz style is Easy Jazz

Conception: 15 solo etudes for jazz phrasing, interpretation and improvisation for
Clarinet by American jazz saxophonist Jim Snidero. The pieces are based on the
chord progressions of well known jazz tunes by some leading composers, presented
with new titles and new melodies. As with other books by Advance Music in this
series, the book has no accompaniment part as such, but comes with a CD containing
both demonstration and play-along tracks. The accompaniment on the CD is supplied
by rhythm section, comprising piano, bass and drums. The composer says:

One of the most important aspects of playing any style of music well is to
interpret it in an idiomatically correct way. In jazz, knowing how to phrase
common melodies and rhythms, swinging and developing a good tone are
all essential elements in sounding both convincing and authentic. Easy Jazz
Conception is intended to give musicians, unfamiliar with the jazz idiom,
a basic proficiency in jazz style to aid in the study of phrasing, the first
ten etudes have many of the phrasings indicated with tenuto (-) and marcato
(^) markings. (Snidero 2000 p. 6)

22
He goes on to say:
The last five etudes are more typical looking charts with limited phrasings
indicated. At this point, you should be able to better interpret the etude
without every phrase being indicated. If youre not sure how something is
phrased, refer to the recording. Ultimately, you have to listen to the
recording and emulate the way the soloist phrases. (2000 p. 6)

The Easy Jazz Conception series is available for a range of instruments. The
composer also encourages players of these different instruments to play together, as
the pieces are all in unison. Phrasing markings are quite detailed in the first ten
etudes, though there are no slurs at all. The first piece Basies Blues has dynamic
markings but I could find no other dynamic markings in any other piece. Some are
marked with indications of style, such as swing, bossa nova or latin, but some
have no indication of feel only a metronome marking. There are some techniques
like scoop, smear and acciaccatura incorporated.

It is interesting to compare Easy Jazz Conception, Jazz Conception (also by Snidero)

and Fernando Brandaos Brazilian and Afro Cuban Jazz Conception for Clarinet, all
part of the same series published by Advance Music in 1996, 2000 and 2006
respectively. Of note is that the most recent publication differs from the earlier ones
through the inclusion of annotations and exercises along with explanations of style,
which is significant in relation to validating this research. It also includes an audio
CD, with both demonstration and play-along track. The explanations are detailed,
though the music is advanced and the range of styles falls only within latin beats.
Certainly this is too difficult for the beginner to intermediate player. The book has
general exercises at the beginning of the book and has annotations and exercises at
the end of the book. Given these sections do not occur alongside each relevant piece,
I found the layout a little confusing. The annotation and exercise section is complex
and focuses on improvisation. The pieces are all at least two pages long and are
clearly aimed at advanced players.

All Jazzed Up, subtitled Solos written and arranged by Oliver Ledbury, contains a
combination of original pieces and arrangements presented as clarinet with piano
accompaniment. No CD is present. The range of pieces is suitable for beginner to
intermediate clarinet players. An arrangement of the well known jazz standard

23
Autumn Leaves by Joseph Kosma and Jacques Previt and arranged by Oliver
Ledbury, is marked:
Medium Tempo

which is another potentially confusing instruction, especially as there are no dotted

quavers or semiquavers in the clarinet part of this arrangement.

An example of jazz sheet music can be seen in iconic publications widely regarded
as the first choice of jazz sheet music albums, The New Real Book series. As can be
seen in the score excerpt below, features such as phrasing marks, articulation marks
and dynamics are often omitted altogether, leaving these considerations to the
discretion of the performer, as was the practice with published music in the Baroque
period. Here is Anthropology by Charlie Parker and Dizzy Gillespie, in this case
taken from the C and vocal version of The New Real Book series, but consistent in
its lack of detail with Bb, Eb and bass clef versions of the books.
Example 1

This score is not available online.

Please consult the hardcopy thesis
available from the QUT Library

24
With little or no background in experiencing and performing jazz and/or popular
music, the performer may stumble through without adequately capturing the essence
of the music.

The following three resources are typical examples of a number of play-along

resources available for the clarinet and numerous other instruments today which
come with a CD and no other accompaniment part. Latin Hits for Clarinet is part of
the Hal Leonard play-along series. It has a CD backing and no piano part. There is
some use of articulation markings evident, but scant use of dynamics. No other
information including instructions on style, phrasing or musical expression generally
were present.

Another Hal Leonard play along book is Essential Rock, containing pieces by Elton
John, Rod Stewart, Steve Miller and others. I could find no arranger or editor
acknowledged in either of the two publications above. Again, little information on
the music in the area of articulation, dynamics and phrasing was apparent. A similar
book to above in the classical vein is Classical Greats easy play-along for clarinet
published by Wise Publications. This has a series of well known classical pieces like
Air on the G String by Bach, Can Can by Offenbach and Clair de Lune by
Debussy. Curiously, it comes with a fingering chart for clarinet. The pieces are of
suitable standard and these are quite detailed in their application of articulation
markings.

Performance repertoire for clarinet: genre-diverse

As its popularity increases, genre-diverse repertoire is much more widespread today.

The English composer, clarinet and saxophone player James Rae is a leading
exponent of repertoire written in a range of styles of the type described in this
exegesis. Rae has written almost 70 albums of works for clarinet, saxophone, flute
and trumpet in solo, solo instrument with piano accompaniment or small ensemble
settings. Through an analysis of the following of Raes works, the following
observations have been made. Play It Cool contains numerous styles from jazz and
popular music. Most pieces are written in the low register of the clarinet, which in

25
itself suggests a target audience of the beginner clarinet. Each piece has an
interesting title and is accompanied by a brief, broad description of style in the
dedication text section underneath the pieces title, along with some tips of a
general nature, such as avoiding rushing or taking note of accidentals. The book has
a piano part and CD with both demonstration and playalong tracks. Raes 40 Modern
Studies is a book of progressive works in a range of appealing jazz and popular
music styles. It contains no support for the soloist aside from a general instruction at
the beginning of each piece, though all pieces do contain considerable detail in the
form of articulation, phrasing and dynamics.

New Zealander Christopher Norton has a reputation as an icon in the world of

writing and teaching jazz and popular music styles for the classically-trained
musician. He is composer of the bestselling Microjazz series. Published by Boosey
and Hawkes, The Microjazz Clarinet Collection 1 is subtitled Easy pieces in popular
styles for clarinet and piano. No CD accompanies this publication. It contains a
range of styles, though these are not identified as such by name. The pieces are all of
appropriate standard and length for beginner to intermediate level and all have catchy
titles, which I agree is important for this level of player. Some, but not all pieces
contain detailed articulation and phrasing marks. There is no space for improvisation
and no chord symbols appear above the music. A brief section with performance
advice appears at the beginning of the book, though this is broad in nature and does
not attempt to deal with individual pieces. The pieces have performance instructions
of a non-style specific nature like urgently, sternly, calmly, positively and
gently. The range, nature, standard and duration of the pieces is appropriate,
though there is no clear indication of the type of style, no instruction on style and no
practice strategies present. The composer says the solo parts are all of moderate
technical difficulty, but they all repay close study by players of any standard. Most of
the accompaniments, which are also easy, may be played on piano, electric or
electronic keyboards. (Norton 1998 "Composer's Notes")

The website of Boosey and Hawkes, Christopher Nortons publisher, claims the
Microjazz series helps the student develop musicianship and technique through
the familiar sounds and styles of popular music. It is this unique combination of
modern genres with traditional technique that has made Microjazz an international

26
success with teachers and players and one of the most widely used educational series
ever published. (Boosey and Hawkes 2007)

Kerin Bailey is a leading Australian composer of instrumental jazz and popular

music, ostensibly with the classically-trained player in mind. A number of Baileys
very good pieces are included in various AMEB woodwind and brass syllabi. Two of
these pieces are fifth grade clarinet pieces Stokers Siding and Wily Bossa from Jazz
Incorporated Volume 1, written for clarinet and piano. As the title suggests, this book
contains a spread of (eight) pieces from the jazz world. The soloist has chord
changes written on the clarinet part, though there are no instructions on how they can
be incorporated into a performance. Apart from broad instructions as to the nature of
each pieces style (swing or bossa nova and so on), there are no directions on
interpretation, ostensibly assuming a prior knowledge of these forms of music. Given
the AMEB has selected a number of pieces for various syllabi, some degree of
assistance in this regard would be of value to the uninitiated. Some pieces in the
book contain detailed articulation some are more sparsely marked. A CD with both
demonstration and backing tracks and a Jazz Incorporated Analyses book are
available separately.

Composed by Australian jazz clarinettist Andy Firth, Play Clarinet with Andy Firth
Book 1 contains sixteen pieces suitable for beginner to intermediate players in a
range of styles and keys and as appropriate for this level, none are more than one
page long. Some have indications such as lively swing with:

Others have more generic markings like Andante Misterioso. The pieces have a
piano accompaniment and backing CD, with both demonstration track and play-
along track. The composer advises use my performances as a guide and then
gradually try to devlop your own style and approach to each piece. (Firth 2003 p. 5)
This is a well written and conceived collection of pieces. Articulation and dynamic
markings are quite detailed overall. There is no advice on style other than the general
comment about hearing how the composer intends them to sound.

27
Jazzin About is a series of thirty-five books by Pamela Wedgwood, a prolific
English composer of instrumental music for the young player. Her music is
published by Faber Music, which informs the reader that she has achieved the
milestone of 500,000 sales. (Faber Music 2003) Jazzin About for clarinet/tenor sax
and piano comprises a number of pieces written in such styles as blues, rock, jazz
waltz, samba and lyrical. There is no CD included. The book commences with a
one-page introduction, containing a section addressed to teacher and student
separately. This gives an insight into the intention of the album, which, together with
consideration of the range of styles present, is not dissimilar to that of the works in
my folio. The authors address to the teacher at the beginning of the publication
demonstrates the intention of this work:

Jazzin About is an original collection of material written in popular rock

and jazz styles. The pieces are arranged approximately in order of increasing
difficulty and I hope that teachers will find this collection a useful addition
to any teaching programme, providing a firm foundation for more advanced
studies in this style of playing. Stimulating accompaniments for piano (or
electric/electronic keyboard) will help the student to achieve scrupulous
articulation of rhythmic patterns and familiarity with the feeling and
characteristics of the music. One of the most important aspects of teaching a
musical instrument is to ensure that the student enjoys what he or she plays.
The study of varied idioms will encourage the pupil to progress faster both
technically and musically. (Wedgwood 1992 p. 2)

There is no instruction given on style, though each piece does include reasonable
detail of articulation. The blues pieces are written primarily using the dotted
quaver/semiquaver rhythm. It is interesting to note the composer feels that despite
the absence of any instruction on jazz and popular music style, provision of
stimulating accompaniments will help the student to achieve scrupulous
articulation of rhythmic patterns and familiarity with the feeling and characteristics
of the music.

In the diversity of styles represented in Peter Wastalls Practice Sessions, it covers a

greater range than most books reviewed here. According to the composer, Practice
Sessions is an intermediate course which places the maximum emphasis on
developing expressive playing. Pieces and studies have been chosen which

28
encourage phrase shaping, rhythmical playing and dynamic control. (Wastall 1992
p. 2) He goes on to say that the book covers a range of styles including jazz, blues
and rock, as well as music from the established clarinet repertoire. (1992 p. 2)
Practice Sessions is structured in sections, usually two pages long, which focus on a
specific technique. Each of these sections includes both textual advice as well as
exercises and pieces based on that technique. Examples of this are staccato, playing
by ear, improvising, ornaments and glissando. The subject of one two-page section is
swing. It includes a brief reference to playing in a swing style and contains a couple
of pieces which make use of the less-favoured notation:

rather than the preferred

The standard of works in Practice Sessions is intermediate level. Neither a CD or

piano part comes with the book, though a piano accompaniment part for the pieces is
available in a separate book. The book also includes a fingering chart and table of
trills.

Written for clarinet and piano in 1991, Englishman Steve Pogson created The Way to
Rock, an album of pieces containing a good spread of popular music styles
appropriately written for the younger player. Some of the pieces include optional
solos, which take the form of written out improvised solos. It comes with a piano
accompaniment part and no CD. The pieces contain quite detailed phrasing and
articulation indications.

In the Foreword for each of the series 2 AMEB grade books for clarinet, Ann Blore
states Through its publications the board strives for the highest standard of editorial
presentation and offers advice on interpretation from some of the leading
practitioners in the country. (Australian Music Examinations Board and Bonetti
2000b p. 2)

As seen earlier in this chapter, in 2007, List C choices from the second grade clarinet
syllabus include works derived from the world of jazz and popular music, including
the following works from the AMEBs Clarinet Second Grade Series 2 publication -
Stranger On the Shore by Acker Bilk, Henry Mancinis The Pink Panther and
Cowboy Blues by Australian composer Peter de Vries. The book contains

29
performance notes for each piece however, the notes are brief and focus largely on
considerations of a technical nature more so than that of style. Other second grade
clarinet pieces include La Cinquantaine (The Golden Wedding) by J Gabriel-
Marie, (Second Grade Series 1) Spiritual or Gospel from Microjazz by
Christopher Norton and Jumping Jack from The Way to Rock by Steve Pogson. As
mentioned is the case with pieces from The Way to Rock, the pieces in Microjazz
contain no performance notes or other help in the area of style, other than articulation
markings on the music. Although the choices for a second grade examination in 2007
are considerably more wide and varied than in 1977, the publications, including the
AMEBs own, offer little in terms of advice or instruction for the classical clarinettist
or teacher wishing to gain greater insight into the stylistic qualities of each piece.

Of the other grade books for clarinet published by the AMEB, the Clarinet First
Grade Series 2 book contains a choice of two List C pieces, one of which is in a jazz
style. Star Quality by Paul Harvey is a swing adaptation of Twinkle, Twinkle Little
Star. Its swing feel is rhythmically represented by a combination of dotted quaver
and straight (even) quaver rhythms

rather than the more commonly used straight quaver approach

where
This approach could cause some confusion, as usually the notation of a swing piece
is consistently one way or the other, that is, either all quavers or all dotted quaver -
semiquaver. However, the approach to swing phrasing is appropriate and reflects the
current practice of accenting the second of a pair of quavers. This is achieved by the
implied accent in bar two of each example above, where the note G will be tongued
and therefore slightly featured, as well as the written accent on the note F in bar 3 of
each example.

30
In Clarinet Third Grade Series 2, one of the three List C choices is the iconic swing
piece Take Five by Paul Desmond. It is appropriately written entirely as straight
quavers, with the instruction

However, there is very little in the way of articulation markings. The absence of slurs
on the quavers below tells a classically-trained clarinetist to tongue all notes

It is still possible to achieve an appropriate swing style if all the quavers above were
tongued, but the tonguing would need to be discreet, as produced by articulating a
d sound. Classical players are far more likely to tongue with a clear, crisp t
sound, as has been my experience in examining this piece on numerous occasions. A
lazy, laid-back style is sought.

Clarinet Fourth Grade Series 2 also has one of three List C pieces in a style other
than classical music. The Oily Rag by Richard Percival is written in the style of a
rag, which by its nature contains a rhythmic pulse based on even quavers. As such, it
is more akin to a classically-orientated piece than one written in a swing style and
therefore more likely that a classically-trained musician would successfully achieve a
sense of style. Still, there are phrasing idiosyncrasies involved in playing a rag that
are not necessarily obvious to someone inexperienced in this area. The composer,
Percival, has been quite detailed in his application of articulatory markings, which is
beneficial to the player. The performance notes for this piece are minimal but apt -
Accents can be quite punchy and the staccato, crisp. Use the chromatic fingering for
F#, E#, F#. (Australian Music Examinations Board and Bonetti 2000a p.35)
However, there is little advice related to style for the player other than that implied
from the articulation and other detail on the music itself.

Overall, AMEB clarinet series 2 grade books from first grade to fourth grade contain
at least one piece in either a jazz or popular music style, as does one of the series 1

31
books. As has been seen, despite the inclusion of performance notes for all pieces in
the series 2 books, clear instruction aimed at achieving an understanding of style is
not a focus. The performance notes are useful and are well written, but for those
lacking experience in performing music from another genre, greater assistance is
desirable. An added issue which could further inhibit the chances of capturing the
nature of the music is the absence of detailed articulation and phrasing markings in
some of the works.

Summary

From this review it is clear that for the developing classical clarinet player and
teacher in pursuit of the study of a broad range of styles, a deficiency in resources
exists on a number of levels. On the whole, repertoire lacks diversity - as has been
seen, rarely is it found that jazz, popular and classical music styles are gathered
together in the one publication for clarinet. Whilst it can be said that an increase in
the number of works containing a range of styles exists, closer inspection shows that
the tendency is to vary styles within jazz or within popular music rather than to cross
over from jazz to classical to popular music.

Historically, in contrast to the generally illustrative and detailed nature of classical

sheet music, not all jazz and popular music scores contain the same scrupulousness
in the areas of phrasing, articulation, dynamics and tempo. For the young classically-
trained clarinettist and/or teacher striving to achieve stylistic accuracy and integrity,
pedagogical support to help achieve insight into how to execute and capture style
with a firm and clear understanding is often absent, or at most, implied.

In addition, solo classical clarinet music of the standard appropriate for the young,
developing player rarely contains instrumental techniques other than traditional ones
like trills, mordents, acciaccaturas and appoggiaturas. While it is understood that
certain instrumental techniques such as the use of multiphonics, extended range,
flutter tonguing and circular breathing are more suitable for the advanced player,
other more manageable techniques could be, though generally are not, incorporated
into music of the standard in question in this study.

32
In the items reviewed here, any advice on strategies or tips for practice was of a
broad nature and not aimed at specific pieces. It should be noted that resources
containing suggestions for practice were almost exclusively method books rather
than those focusing on the study of repertoire and the nature of comments was
generally on a technical rather than musical level.

This research, therefore, aims to fill a gap in existing repertoire and teaching
materials by exposing student classical clarinet players to a resource that realises the
full scope of features discussed and in so doing extend repertoire choices and
contribute to the development of the young clarinettist and teacher as applicable, as
well as to the body of Australian music as whole.

33
 CHAPTER 3

Methodology for the Study

As has been demonstrated from the appraisal of resources in the previous chapter,
shortcomings in related resources for the young classically-trained clarinet player
seeking to play jazz and popular music styles have been the inspiration for this study.
It is acknowledged that some currently available literature contains certain useful
features related to the subject matter outlined, though I have found no existing work
which satisfies the complete range of criteria identified. Rather than distance any
findings from the perspective of a classical musician, a conscious attempt for this to
influence findings and methodologies is intended.

The mode of inquiry into existing repertoire as seen in the previous chapter took the
form of applied research, which The Australian Research Council describes as
original investigation undertaken in order to acquire new knowledge but is directed
primarily towards a specific, practical aim or objective. (Australian Government
Culture and Recreation Portal 2007) As articulated, the research is informed by both
the qualitative analysis and interpretation of similar existing modes of pedagogical
study and repertoire, as well as through empirical analysis of methods and techniques
over some thirty years in my capacity as a student and subsequently professional
musician and educator.

Consideration of numerous factors influenced the methodology chosen for this study.
The impact of one such issue was crucial in arriving at a suitable outcome the
likely age group of the intended recipients. The age of beginner to intermediate
clarinet players could be anywhere from approximately nine to sixteen years of age.
As a result, I determined the appropriate approach to take was through a combination
of praxis and theory, rather than one or the other, as in the case of a number of
resources reviewed in chapter 2. According to Denzin and Lincoln the field of
qualitative research is defined by a series of tensions, contradictions and hesitations.
(Denzin and Lincoln 2000 p. 24) Consistent with this thinking are the various
interpretative paradigms which provided the foundation for this research. The
dominant paradigms which drove the research process as a whole were aesthetics and

34
critical theory. According to Bohman, a critical theory is adequate only if it
meets three criteria: it must be explanatory, practical, and normative, all at the same
time. (Bohman 2005)

Giving due consideration to all facets discussed, I concluded that an appropriate way
to advance knowledge in this area of contemporary clarinet repertoire and teaching
was to undertake the methodology of practice-led research through composing a
series of works and supporting exegesis. The University of Technology, Sydney
states Practice-led Research is concerned with the nature of practice and leads to
new knowledge that has operational significance for that practice. The main focus of
the research is to advance knowledge about practice, or to advance knowledge within
practice. (University of Technology Sydney Creativity and Cognition Studios 2007)
The nature of this study relates to current practice and will contribute to an improved
system through the creation of an original series of compositions, intended for use
beyond the research base. Gray maintains that practice-led research is research
initiated in practice and carried out through practice. (Gray 1996)

To avoid the replication of existing resources, I sought to extend knowledge in the

area through the inclusion of a number of features which formed the framework for
the study. Rather than create a set of etudes or exercises to use as a vehicle for the
studys purpose, I decided to compose a series of performance pieces containing
musical ingredients characteristic of each style, as a means of presenting an
educational platform with an emphasis on enjoyment and accessibility, given the age
group likely to be associated with this level of repertoire. To develop, support and
enhance the young students cognitive awareness, the strategy of a performance-
based model was favoured over a theoretical model. In the interests of developing the
(classical) players understanding of style and increasing practical skills, I created a
framework of components to work together with a common aim.

To realise the research and to position my works uniquely within the field of existing
related resources for the classical player, I formulated eleven guiding principles:

1. Create instrument-specific clarinet pieces written at a suitable standard.

Instrument-specific pieces needed to be written at a standard appropriate for beginner

35
to intermediate classical clarinet players. I decided to compose the pieces for clarinet
with piano accompaniment, which reflects common practice in classical clarinet
literature. Its purpose was also to achieve a sense of ensemble, which is more
characteristic of jazz and popular music performance than solo performance. In terms
of the technical level and overall standard of each piece, the AMEB system was used
as a guide, the reasons for which will be outlined later.

2. Multi-genre approach

A range of archetypal jazz, popular music and classical styles needed to be selected
to reflect a multi-genre approach.

3. Based on classical technique

Essentially the pieces were intended for classical musicians. They were to be
vehicles for the development of stylistic understanding and to be of educational
value. As a result of these paradigmatic influences, I chose to base the pieces on the
rigours of classical technique, the reasons for which will be discussed shortly.

4. Judicious choices of melodic, harmonic and rhythmic content

Choices of melodic, harmonic and rhythmic content needed to be carefully

considered so as to create a collection of works which is not only educationally
stimulating and rewarding, but aesthetically pleasing, accessible and fun.
Importantly, the pieces had to be stylistically valid.

5. Thoughtful selection of titles and introductory description on the music.

With the younger player in mind, titles needed to be carefully considered and
introductions included at the beginning of each piece to be informative and to
contribute to the players enjoyment level.

6. Semiotics

Substantial and detailed use of signs, symbols, terms and other musical markings on
the sheet music were considered important as a means of advising players in the
areas of phrasing, accent and inflection, dynamics, tempo, rhythmic subdivision and
beat to help convey a sense of the general feel and mood of the music. Frequent and
thorough use of musical signs and symbols such as tenuto, staccato and various

36
accents was considered a key factor in assisting the student achieve an awareness and
understanding of style.

7. Phonetics

The practical application of the presence of musical markings as well as the effect
caused by their absence were influencing factors in consideration of the development
of a speech-related musical language for the clarinet player.

8. Wide dynamic range

The quality of performance of notation or repertoire-based musicians relies in part on

the players control of tone, timbre, intonation, technique, pitch range and dynamic
range. A wide dynamic range allows for a broader range of expressive possibilities
creating more opportunities to make an impact on the listener.

9. A range of instrumental techniques

In addition to the inclusion of the features already mentioned, I decided to introduce

a number of extended (non - traditional) instrumental techniques not normally
associated with music of this level.

10. Guide to style annotation and representation

As a further means of informing the inexperienced player or teacher about style, the
inclusion of a style guide section was considered important. I gave consideration to
how this should be laid out. What form should it take? Should it be positioned
adjacent to the music or be on the sheet music itself? Should it consist only of text?
Would this be best achieved through the use of annotation and representation? How
wordy should this aspect be? Consideration of the implication of semantic
variables for this section was critical. In the interests of clarity, I decided that
directions given needed to be as simple and concise as possible.

11. Practice strategies section to be included

The final feature chosen for inclusion was a section which offered strategies for
practicing specific pieces and features within. I felt this would be very valuable for
both student and teacher. Depending upon the age, maturity level and work ethic of
the student player, this aspect of the preparation of a piece for performance is often

37
left up to the discretion of the teacher. If that is true, in some respects the inclusion of
practice strategies may be more applicable to the teacher than the clarinet player.

The process undertaken during this present study was dynamic and one where I was
faced with a range opportunities and tasks. During the period of the study, the
AMEB commenced a review of the current clarinet syllabus at which time the
syllabus writers became aware of my research focus and expressed interest in my
compositions. Consequently, it was necessary to refer and adhere to AMEB grade
level requirements, such as objectives for that level, as well as range, technical level,
and other guidelines applicable to specific grades. As a result, the methodologies for
the study were further influenced and shaped by these factors. The decision was
advantageous in the sense that it allowed me to utilise an established, structured
system where the delineation between grades and levels was recognised and
established. Morover, having completed numerous AMEB examinations in my youth
and now as an AMEB examiner of 12 years standing, the AMEB system and
grading standard is very familiar to me. Discussion with the syllabus writers
regarding technical demands at the level in question also served to influence certain
compositional choices, especially in relation to technical difficulty. Although there
are competing notions of standards for beginners within different examining bodies
around the world, the AMEB system was used as a measure for the compositions in
the folio.

The AMEB syllabus is structured according to three levels - Beginning, Developing

and Advanced Development. Level 1 comprises Preliminary Grade to Grade Four,
Level Two consists of Grades Five to Eight and Level Three (Advanced
Development) contains the diploma level examinations Associate in Music Australia
(A. Mus. A) and Licentiate in Music Australia (L. Mus. A). The majority of pieces
written for the present study are designed to fit within Level 1 standard in order to be
appropriate for beginner intermediate level players.

38
Objectives for Level One Clarinet as stated in the syllabus includes the statement:

At the completion of Level 1 students will be able to play musically and will have
developed their technique and musical understanding according to the criteria given
below. (Australian Music Examinations Board 2007 p. 238)

The list of criteria referred to above includes the following, which are addressed in
the creation of each piece:

Accurate performance of all pieces

Rhythmic precision

Clean, accurate intonation

Considerations of the style appropriate to each work

Practical application of the guiding principles

Consistent with the plan to create for young people an appropriately enjoyable album
of pieces with educational value, it was decided that the creative work as a whole
should be principally program music rather than absolute music. From empirical
evidence, I believe music based on imagery is regarded as more appropriate for
young people. To complement the imagery associated with each piece, arriving at a
title for each took careful consideration in the hope of stimulating interest in the
piece and evoking an appropriate understanding of mood, if not style, in a broad
sense. The intention here was to encourage an overall concept of the character of
each piece; to encourage the student to make music rather than simply producing
notes and sounds without real meaning. Additionally, I decided that each work
included in the folio of compositions should be accompanied by a brief, colourful
and instructional body of text located on the sheet music itself (in the dedication
area above the title), intended to further stimulate images or feelings suited to
producing an desirable musical outcome.

The list of guiding principles mentioned above formed the philosophical

underpinning for each work. One such tenet determined that each piece should be
based on classical technique. Prior to commencing the composition process, I had
reviewed various clarinet literature and had encountered some repertoire composed

39
by Christopher Norton where I learnt of his philosophy concerning the application of
a basis of classical composition. I reflected over what it meant to base a piece on
classical technique. To do so, what compositional techniques or strategies needed to
be employed? Did this mean the music would or even should sound quasi-classical,
even in the case of, say, a swing piece? If not, what needed to be done to avoid the
piece sounding classical? I decided that for me, basing a piece on classical technique
meant to provide the student with a work of some technical substance; a work that
required some effort on the part of the clarinet player, but one that rewarded the
player by helping to develop fundamental components of wind playing technique,
tone production, tonguing and musicianship. And yet, I believe the application of a
classical-technique base to the works occurred naturally as a consequence of my
background of formal, structured training as a classical musician. I had not
consciously come to the conclusion that my approach to composition was to be based
on classical technique, but regardless, I felt impelled to produce pieces with a solid
technical base in order to provide an educational platform of some substance and
worth.

With respect to genre and style, the need to identify and select archetypal styles and
inherent musical elements from jazz and popular music was of paramount
importance. A diverse cross-section was chosen for reasons of both representing
significant and iconic styles as well as to present an interesting, challenging and
stimulating range of works which are true to their musical roots. These are positioned
alongside some contemporary classically-orientated works to contribute to the multi-
genre approach and to represent a viewpoint of equal respect for all musical types.

The inclusion of characteristic melodic, harmonic and rhythmic features was

essential to capture appropriately each style. Their use needed to reflect the classical
technique approach but to do so in a way which resulted in the authenticity of each
musical type. Due regard was likewise given to such matters as form and,
significantly, the duration of each piece. Duration was a fundamental consideration.
Younger players lack the stamina of older, more physically developed players and it
was essential to create pieces which are not too long to manage effectively. The
general rule of thumb is the lower the level of player, the shorter the piece.
Instrument range and perceived technical levels were influencing factors, though

40
these were imposed by the requirements for each relevant AMEB grade. It is
interesting to consider the demands of the extremes of range on the clarinet. Lower
notes are generally regarded as being easy to produce and control, but young players
with small fingers can experience difficulties if they struggle to cover the tone holes
securely. The lowest tone holes on the lower piece of the instrument are the largest
and are therefore more difficult to cover. Upper notes, depending on which part of
the range of the clarinet they are, can be a challenge for young players, partly due to
the misguided perception with some that the higher the note, the more difficult to
manage. These factors were assessed in the creative process. A wide dynamic range
is a quality that musicians can employ to help distinguish their playing from
anothers. Dynamic contrast helps to create an impact in performance and is an area I
felt needed to be a feature of each work.

The inclusion of thorough and detailed musical markings is familiar to the classical
musician and a feature I maintained would be invaluable here. A complicating factor,
however, was the question of whether there were differing semiotic interpretations of
each sign and symbol from one genre to the next. I resolved that the solution lay in
the clarity of my explanation to the young player. Applying phonetic sounds to the
articulation of musical notes is a technique I have had success with as a performing
musician, conductor and teacher. The concept is not mine alone far from it but I
have formulated a specific number of phonetic sounds that I use. In terms of its
application to this research, there were further questions to be asked. How could this
be simply put, considering the age of the intended? How many different phonetic
sounds needed to be part of the pool of those deemed appropriate for the young
player? Were there any related aspects which should contribute to the design of this
method? How could I best achieve clarity and simplicity? For me, the answer lay in
the final question that of clarity and simplicity. It is this approach I have taken in
an attempt to produce the best possible results. Consistent with this is the concept of
referring to phonetic sounds as articulatory lyrics for the clarinet player.

Two areas which differentiate this study from many others in the field can be seen by
the inclusion of (1) style guide and (2) practice strategies sections. The guide to style
should, as comprehensively as possible, describe and illustrate approaches which
contribute to the achievement of an authentic performance style. The involvement of

41
the vocalisation of phonetic sounds as a systemic approach to articulation, referred to
elsewhere in this thesis as an articulatory language of lyrics, is a key component of
the style guide section and will form the basis of the impartation of advice in this
regard. This, and the use of annotated examples from the sheet music will be specific
techniques to be employed here. In some respects, the application of the detail
mentioned above should be not dissimilar to the annotation of stylistic expectations
in the form of the spelling out of notes in ornaments, seen in selected editions of
baroque music. However, the level of detail and depth of instruction in this study is
intended to be significantly greater than the approach taken with baroque music as
discussed above and may in some way produce a form of modus operandi for those
undertaking study of the styles represented.

Finally, in the interests of expanding the younger players concept of technical

possibilities in addition to traditional technique, the use of carefully selected
extended techniques should be incorporated. The intention behind the decision to
include these was more far-reaching than the ability to conquer each technique in
itself. It is intended to expose the beginner to intermediate clarinet player to a greater
range of expression, resultant tone colours and technical possibilities than is usually
seen at this level to increase awareness of other techniques. Typically, extended
or non-traditional techniques of this type are more commonly found in advanced
repertoire. A number of techniques were considered for selection in the final list.
Those rejected were done so on the basis of being too difficult for the younger
player, such as multiphonics, harmonics, complex rhythmic applications and flutter
tongue. Those approved were microtonal (timbral) tremolos, breathy tone, prepared
clarinet, hand vibrato or pitch deviation through a wa wa technique, glissando,
portamento, ghosting, drop off (fall) and scoop.

The significance of the composition folio here, therefore, will be in the inclusion of
all of the above features, hitherto undiscovered in currently available literature for
the clarinet, which will assist the inexperienced, uninformed musician or teacher in
capturing this most important quality of the music - its character. Despite the plan to
generate a systemic approach to learning style, however, I wanted to encourage
students to share a philosophy of mine which has influenced my music-making for as
long as I can remember that of developing an individualistic approach to music. As

42
David Berkman articulated hopefully, everything I practice is leading me in the
direction of developing a personal voice. (Berkman 2007 p. 23) My perception was
that for young musicians to securely grasp concepts of style, articulation and phrase
markings in the pieces needed to be heavily prescribed. Despite this, I hoped to
encourage students to play not just with notational and rhythmic accuracy and to
learn, understand and apply guidelines and principles of style, but to develop their
own character through the music.

43
 CHAPTER 4

The Compositions
In approaching the compositional process, I first assembled a list of a range of styles
for consideration from within the classical, jazz and popular music genres. I felt a
cross-section of styles was appropriate for inclusion in the folio some inherent and
perhaps predictable, as in the case of swing - some conceivably less anticipated, even
quirky, as in the case of a prepared clarinet piece. This was done so in the interests of
creating engaging yet educationally rewarding music. To appeal to the younger
player, however, the pieces had to be tuneful and entertaining. It has been my
experience that younger musicians struggle more with swing than with other musical
styles from jazz and popular music, so the inclusion of at least one swing piece was
certain.

I decided that each piece should reflect its intended style as closely as possible, given
potential constraints caused by instrumentation and technical level and in
anticipation of a limited experience level of the clarinettist and/or accompanist. To
that end, I identified characteristics inherent to each style, some of which were
rhythmic in nature, some melodic and some harmonic. Regard to tempo and
appropriateness of time signatures were additional factors in this process. There was
due consideration given to the keys included in the AMEB grade level for each
relevant piece, as well as the desire to vary keys, restricted though by the limited
range of key possibilities for the less advanced player in question here. I had to think
not of concert pitch keys, but the transposed keys for the Bb clarinet. D major for the
piano was innocuous enough, but this meant the clarinet player would be in E major,
which was impractical and illogical. By the end of the process I had a spread of both
time signatures and key signatures.

In some cases, I started with a title, then developed musical ideas from there. In other
instances the creative process began with a musical idea which was developed upon.
In all cases I chose a title which I hope will provoke in a student imagination and
creativeness. Where appropriate, I looked for opportunities to incorporate extended
techniques.

44
As outlined, the AMEB was used as a point of reference in the creative process.
Chapter 3 includes a broad outline of the level/grade examination structure of the
AMEB clarinet syllabus. On page 238 of the 2007 AMEB Manual of Syllabuses, the
complete list of objectives for Level 1 (preliminary grade to grade 4) studies and
pieces are listed thus:

Accurate performance of all pieces

Performance of each piece at the indicated tempo
Good posture with comfortable hand position
Breath control
Rhythmic precision
Fingers held close to the keys
Clear and even tone
Clean, accurate articulation
An even legato
Accurate intonation and consistency of pitch
Observation of dynamics as specified
Consideration of the style appropriate to each work

Level 2 objectives (grades 5 to 8) are identical to those of Level 1, with the addition
of the following:

Use of alternative fingerings where appropriate

Performance of dynamics and articulations as specified
Considerations of style, phrasing and articulation appropriate to each work
Management of a range of tonal qualities for expressive purposes

Further considerations related to AMEB levels and grades include:

Technical level for each grade

Range
Instrumentation (solo clarinet versus clarinet and piano/CD)

45
 Table: Overview of Compositions and Characteristics
The list of original pieces for clarinet in the composition folio, the range of styles and
related musical elements can be seen in the following table:

Title Style Pedagogy Musical characteristics Features of interest

AMEB Clarinet key (rhythmic figures, motific
level Time signature elements, dynamics,
Range Form phrasing and accentuation)
Liquorice Medium swing Development Swing figures: Alternative swing
Stick of a swing articulations to produce
(grade 2) language alternative phrasing
through styles:
American articulatory
Popular lyrics
Song form (phonetic Dynamic range
AABA coda sounds) pp - f
Introduction
of
characteristic
swing figures

Mellie the Light classical Articulation, Dynamic range Extended technique-

Excitable Musical chromatic pf breathy pant:
Dog theatre movement,
(grade 3) Vaudeville extended Use of accent (main
techniques theme):

Extended
American Quasi-bossa nova Clave:
Popular Song
Form
AABAAcoda

Surfers Salsa Development Clave: Glissando, detailed

Paradise of a latin articulation
Salsa language
(grade 5) through Quasi-classical for
to articulatory contrast:
lyrics
(phonetic
sounds) Legato tongue:
to
Introduction
of
characteristic Dynamic range
Salsa figures pp f
Rondo form

46
 Title Style Pedagogy Musical characteristics Features of interest
AMEB Clarinet key (rhythmic figures, motific
level Time signature elements, dynamics,
Range Form phrasing and accentuation)
Rock It Rock Development Rock figures: Quasi-improvisatory
Man of a rock section, use of blues
(grade 4-5) language notes (b3, b7 both
through clarinet and piano
to
articulatory parts), change of key,
lyrics extremes of range
(phonetic Improvisation section:
sounds)
Compound
ternary form Dynamic range
pp ff

Clarimania Contemporary Prepared Deliberate intonation Wa wa effect (pitch

(grade 6) classical/ clarinet discrepancies (new scale) deviation with hand
Pan-diatonic, (mouthpiece, Dynamic range: over bell), deliberate
chromatic lower joint p ff intonation discrepancies
and bell),
extended
techniques

Wa wa effect:

New scale:
Through
composed

Foofaraw Fast, florid and Control of Trills, mordents, Accompaniment left

(grade 4) flashy ornaments, acciaccaturas hand only
fast playing, Dynamic range
dynamic pp ff
control
Rondo form
African World music, Development Improvisatory in nature Polyrhythmic,
Rhapsody quasi-African of and glissando, scoop
Grade 6 exposure to Clarinet melody over
world music piano ostinato:
style

Ternary form

2 against 3 polyrhythm:

Dynamic range:
p-f

47
 Title Style Pedagogy Musical characteristics Features of interest
AMEB Clarinet key (rhythmic figures, motific
level Time signature elements, dynamics,
Range Form phrasing and accentuation)
2 Cool 4 Laidback Development Characteristic swing figure Backbeating, ghosting,
Skool swing of a swing in main motif: smear.
(grade 4) language
through Ghosting:
articulatory
lyrics
(phonetic
American sounds)
Popular Song Introduction
form of
characteristic
swing figures

Important Slow, Tone & pitch Throat note fingerings

Occasion expansive. development, Rhythm & intervals as per Style
(grade 1) Ternary form articulation, lilt Guide (see sheet music)
keywork, Dynamic range
dotted p-f
rhythm

Aunty Boogie Development Use of accent in main Accent, phrasing, blues

Hilda Woogie of a boogie theme: chord progression
language
through
articulatory Accent and syncopation:
Binary form lyrics
(phonetic
sounds)

Strange Slow, Tone Dynamic range Microtonal (timbral)

Goings On expansive production, pp f tremolo:
(grade 3) classical. extended Use of chromatic, whole
Through techniques, tone scales
composed Breath
control Main theme:
to

Wide intervals:

48
Liquorice Stick an analysis and commentary

I have selected the work Liquorice Stick as an exemplar to describe my

compositional process in detail. The analysis of Liquorice Stick is followed by a brief
synopsis of my approach to the remainder of the works in the folio.

Liquorice Stick is set at a grade 2 AMEB level, based on the AMEB Clarinet
syllabus. It has been selected for detailed analysis because it represents a primary
thread within the jazz genre swing. The Australian Government Culture and
Recreation Portal describes swing as the most popular style in jazz history
(Australian Government Culture and Recreation Portal 2007). Liquorice Stick will be
discussed, with its musical characteristics outlined and analysed in order to identify
and proffer a range of principles and practice strategies for student musicians. The
compositional process will be traced, with a discussion on the educational rationale
behind decisions made.

According to The New Grove Dictionary of Jazz most attempts to define swing refer
to it as primarily a rhythmic phenomenon, resulting from the conflict between a
fixed pulse and the wide variety of actual durations and accents that a jazz performer
plays against that pulse. (The New Grove Dictionary of Jazz 1994 p. 1176) The
term swing also refers to a period characterised by larger ensembles and more
emphasis on improvisation that emerged in the 1930s when the popularity of New
Orleans jazz was waning. The two definitions are inexorably linked, for the practice
of swing as described in The New Grove Dictionary of Jazz was employed in the
swing era of the 1930s. The discussion here, though, relates primarily to the former
explanation. Unfortunately, the Grove definition alone is of limited use for the
beginner attempting to capture the essence and nuances of swing style in live
performance. It does not answer the question: how does the beginner produce a
musical result that appropriately captures swing style? The rhythmic conflict solely
does not create swing. Other factors including phrasing, accent, timbre, intonation
and inflection are also important ingredients. Additionally, propulsion of the pulse by
placing notes so as to sit slightly adrift of the tempo (referred to as dragging), slightly
ahead (pushing or racing) or precisely in the centre of the tempo are all not only
possible, but crucial in order to achieve the desired style of swing.

49
Western music notation itself is somewhat limited as far as being able to truly
represent how a jazz and popular musician should play in a particular style. An
example of this is swing music, where the Grove definition and notation limitations
conspire to work against a realisation of swing style. Commonly found on swing
sheet music are the following ostensibly contradictory instructions to musicians:

Example 1

or

It is common to simply find the instruction swing or medium tempo swing or

similar at the beginning of swing sheet music. Or sometimes no instruction at all
appears in the sheet music and the characteristic subdivision of the crotchet beat is
written in the body of the score without any explanation as the following, which is
intended to be played in a swing style:

Example 2

Some comment needs to be made here: firstly, there is clearly a discrepancy between
the two rhythms in example 1. It needs to be said, though, that in some cases the
appropriateness of which rhythm to play is due to historical and cultural relevance.
Common practice in the early part of the twentieth century was to play swing more
like the rhythm in example 2 than the triplet-based rhythm in example 1. In this, the
era of Dixieland and traditional jazz, music played with a swing feel was played with
an emphasis on quavers on the beat. At the same time, much of the music was slurred
(legato), particularly where a series of quavers was involved. As tastes and trends
changed, so to did the placement of the rhythmic emphasis in swing, to the point
where current practice is to stress the second of a pair of quavers, as well as notes of
other values that occur on that part of the beat.

Example 3a Example 3b

Through the swing era and beyond into the Bebop period, jazz playing became more
virtuosic and as a result, changes occurred in phrasing practices. To cope with the
demands of playing fast, instrumentalists needed a fluent and mobile technique in

50
partnership with articulation proficiency. This shift raises questions in relation to
how musicians articulation technique adjusted in response or as a contribution to the
transition. Did wind instrumentalists in particular need to alter their technique to
manage the transition in phrasing? Clarinet, saxophone, trumpet and trombone
players began incorporating a wider range of articulations, most notably in areas
where the practice previously was to slur. Commencing notes with a d tonguing
sound helped to achieve an aesthetically pleasing attack which was appropriate for
this style. The d sound produced clarity and definition to the notes attack, while
still producing a softer, non-percussive effect. This allowed the listener to focus on
the sonic qualities of the instrument, rather than on the attack itself. Interpretation of
the swing quaver pulse developed too. It became less dotted quaver/semiquaver
orientated and more relaxed and flowing, like a triplet. Other articulatory inflections
and accentuations occurred, an example of which is ghosting, the articulation
technique of understating a note but implying its pitch through a gentle suppression
of the sound.

In composing the work a number of questions needed to be asked in order to come

up with a brief for the work. A central question was in relation to how I could create
a musical vehicle that reflected accepted common practice swing elements, so that a
beginner level student of the instrument with little or no experience of jazz music
could play the piece with some sense of understanding of style. Determining whether
to adhere to a traditional or more current swing style or to incorporate both was part
of the preliminary thinking. Further, the piece needed to be relatively brief in order
for a younger player to cope with the physical demands. Given the likely
approximate age of the clarinettist, an additional requirement was to make the music
as accessible and engaging as possible.

The level of the player had implications in a number of areas, including technical
demands, range and rhythmic complexity. I chose to compose the work for clarinet
and piano to reflect standard practice in AMEB examinations. Given the piece was to
be written for clarinet and piano, the nature of the accompaniment was also vital to
the overall success of the work. With no rhythm section as such, the piano
accompaniment took on the important role of providing the underlying beat and
pulse to the music. The problem was potentially two-fold - classical clarinet students

51
who mostly play classical repertoire are often accompanied by classical pianists. This
led to important choices for the accompaniment part too. In the absence of a bass, the
left hand of the piano part took on this role and in the absence of the drums, the
meshing of all parts as a whole needed to create and maintain an appropriate beat and
pulse to propel the music as desirable. I hoped to respond to this in a way that
allowed a pianist with little jazz experience and even limited technique to cope with
the accompaniment part.

The key of concert Bb major was chosen for Liquorice Stick for two reasons. Firstly,
because its transposed key (C major) is one the keys in the technical work section for
AMEB Second Grade clarinet and secondly because in C major on the clarinet,
provided there are not too many accidentals, the young clarinettist is not required to
use the more difficult side keys on the instrument.

Deciding on second grade standard meant the clarinet part needed to be written
within a range of low E (or E1) C3:1
Example 3c

Extremes of range can be challenging to play for the young player, especially if
approached by large intervals. With that in mind it was planned to avoid the upper
one or two notes within the range or possibly approach the notes by slur, which is
more manageable than if tongued or when approached by leap. Given its cylindrical
bore, low notes on the clarinet are not especially difficult to produce. However, the
lowest five notes possible on the instrument require the lowest front tone hole to be
covered by the right hand ring finger. The tone hole in question is the largest of all
those required to be covered by the players fingers.2 Small hands can find this
something of a problem, so while it was not so significant an issue as to avoid those
notes altogether, prudent arrangement of the lowest notes was necessary.

1
The notes above, referred to as E1 and C3, are so called because they are the first E and the third
C possible from the lowest note of the range of the clarinet. The note E above is the lowest note
possible on the clarinet. So the iteration of the next E above this will be called E2 and so on. This
principle applies to all other notes.
2
Apart from tone holes covered by means of keywork mechanisms.

52
In the early stages of the creation of this work, a four beat feel (time signature 4/4)
was selected, but the four beat feel was overturned in favour of a two minim beat per
bar feel or two-feel. A two-feel helps to create a calm and controlled musical
platform, for instead of the constant four beats per bar, there are two minim pulses
half the speed of four crotchet beats. The two-feel was achieved by the inclusion of a
predominantly minim-orientated rhythm in the bass (left hand) of the piano part:

Example 4a

and seen here in its second iteration in a slightly different form for contrast (though
still effectively a minim or two-feel):

Example 4b

Although the duration of each bar in terms of time is the same in each case, the
decision to use the more relaxed feel of two minim beats or pulses per bar was
calculated to give the illusion of the music being unhurried and manageable to assist
the clarinettist feel confident and composed. The time signature remained as 4/4, but
this is common in jazz to use 4/4 (common time) but to write with a two minim
pulse-per-bar feel.

The form of the work is loosely based on American popular song form, which is the
most common form found in mainstream jazz pieces. American popular song form
comprises 32 bars of music, sometimes with an introduction or intro and a coda or
outro. The 32 bars actually consist of 16 bars of music arranged in the following
way:

American popular song form

Section A1 8 bars
Section A2 8 bars
Section B 8 bars
Section A1 repeated 8 bars

53
The form of Liquorice Stick differed from the structure above through inclusion of a
two-bar introduction and a twelve-bar coda or outro. Also, whilst the second A
section (A2) is harmonically and structurally identical to section A1, the melody is
different. The return of section A1 after the bridge (section B) sees a return of the
melody from A1, though this time written an octave higher in pitch.

Played by the clarinet, the melody consists of a series of four-bar phrases. In the A
sections, each four-bar phrase comprises a call and response style melodic figure in a
two-bar + two-bar configuration. The melody commences in the chalumeau register
to help the soloist commence the performance in a confident and reliable manner.
The opening two bars (call) part of the melody can be seen in example 5 below. This
example shows the original choice of articulation which, as outlined earlier, is
current practice in swing phrasing and achieves a modern, contemporary style.

Example 5

Bars 3 and 4 of the melody (response) were created as follows. Consisting of

repetitions of the dominant note G (F concert), this figure is first heard in the
introduction, played by the piano. The following example is from the clarinet part:

Example 6

The rhythmic structure of the motif above is consistent with the two-feel created
by the example bass lines seen in examples 3a and 3b.

As seen in example 5 above the main theme used was based on a C major scale, with
notes moving basically in step-wise motion. The chord progression I-ii-iii-IV is
consistent with the intended simplicity of the work as a whole and gives a carefree,
happy-go-lucky feeling to the piece. I decided not to include chord symbols above
the melody on the clarinet part itself, but they are included in example 5 to illustrate
the chord progression in relation to the matching note choice of the melody.

54
Upon reflection, I felt that the one tongued, slurred in pairs articulation/phrasing
style may be problematic for some young clarinet players, given the piece was
written for grade 2 level, so the style was changed in favour of an earlier style for the
parts where numerous quavers in succession were present. The likely difficulty for
the player lay in combining a) the requirement to interpret written, ostensibly even
quavers as swung, uneven quavers with b) an offset articulation with tongued or
stressed notes appearing usually off the beat. The change allowed the logical
inclusion of (mostly) slurred quavers where appropriate, which is likely to be more
manageable for the player:

Example 7

Although the articulation above achieves an older style of swing, it is still valid,
reflecting practices of early twentieth century musicians as discussed. At this point,
however, I decided to do something a little unconventional and include two
possibilities for articulation, to allow the clarinettist to compare each type of
phrasing and choose the preferred style. The sheet music advises the player to choose
between the upper or lower versions and outlines the effect of each:

Example 8

The melody in the second half of the 8-bar A1 section is similar but not the same as
the opening melody, having been inverted somewhat:

Example 9

55
The different permutations of the C major scale here were designed to complement
the existence of C major scale and arpeggio in the technical work section for AMEB
grade 2 clarinet.

The introduction of the following characteristic swing rhythm (Example 10a) formed
the basis of the second 8-bar section, section A2:

Example 10a Example 10b

Given its simplicity, the figure was straightforward enough to allow for a modern
swing phrasing (Example 10b) style, even if the player was unable to manage the
modern phrasing in the opening melodic section (A1).

Section A2 has the same chord progression as section A1 for the first 4 bars, then
once again I deviated slightly from the norm and introduced the chord progression 1-
VI-ii-V7-I. As one of the most common chord progressions in jazz, its introduction
here was useful in terms of exposing the clarinet player to its sound:

Example 11

In order to cover more range and challenge the player a little more in that regard the
next section needed to be expanded upon pitch-wise. This, section B (or bridge),
contrasts completely with the A sections, as is the norm for this style of piece. It
commences with a iii Vi IV V I chord progression and a largely slurred,
rhythmically simple melody. The brief appearance of a walking bass line in the piano
occurs in the sixth and seventh bars of the example 12 (bars 24, 25 as written)
following:

56
Example 12

The slurred melody serves to offer both contrast and demonstration of the range of
stylistic variations that can exist in a swing piece. The harmony offers some exposure
to common practice in jazz chord vocabulary, through the use of the D half-
diminished chord in bar 7, the flat 9 effect in the walking bass that precedes the
Cmin7 chord and the F7b9 (dominant 7 flat 9 chord).

The opening theme (A1) was varied only slightly on its return after the bridge by
being an octave higher than first stated. This was to provide further interest to the
melodic line and to add contrast generally. I felt by commencing very simply and
becoming a little more complex, the piece would contain a more satisfying overall
emotional shape. This also permitted variation of the rhythm section
accompaniment in the piano.

Example 13a Example 13b

The 12-bar coda contains a dominant pedal technique in the left hand of the piano,
with melodic material derived from section A2 in the right hand. The clarinet plays a
descending C major (transposed) scale; in this form a descending mixolydian mode:

57
Example 14

Courtesy of the crescendo in the clarinet part and the thickening of the right hand
voicing in the piano, Liquorice Stick builds in dynamics, range and texture until its
conclusion:

Example 15

Analysis of works and description of compositional process

The following provides a brief overview of compositional approaches and

methodologies employed in the creation of the remainder of pieces in the folio.

Mellie the Excitable Dog provided an opportunity to introduce a simple but effective
extended technique on the instrument. Due to the cylindrical shape of the bore and
the relative openness of the reed/mouthpiece combination (relative to double reed
instruments), the clarinet player can blow air through the instrument with a relaxed
embouchure and an amplified breathy tone is the result. To do so requires a balance
between the amplitude of the air stream and the pressure around the mouthpiece from
the lips and facial muscles so as not to produce a regular clarinet tone.

The mood of this composition reflects the personality of the dog that inspired it it is
energetic, bright and bubbly. To represent the dogs excitement, the use of accent
and staccato were appropriate, as well as setting the piece to a bright but manageable

58
tempo. The underlying two bar rhythmic figure between clarinet and piano in the
A section is a simple version of a bossa-nova clave:

In addition to articulation demands required of the player, chromatic movement and

the use of scale and arpeggio derived melodic lines provide the classical technique
basis for the work.

Surfers Paradise Salsa

I used the salsa to introduce the clarinet player to a straight-quaver latin-fusion dance
music style. This allowed exposure to the clave, the foundation of latin music, as
well as reinforcement of the language of articulatory lyrics described in this study. I
chose to exploit the use of modulation in this piece as the keys present are C minor,
C major, C minor, A minor and Bb minor. There was a conscious effort on my part
to make the piano part manageable for pianists inexperienced in latin dance styles.
To keep the focus on the musics dance origins through rhythmic and temporal
features, I chose to use the characteristic chord progression I V for the main
thematic idea. Played here by the clarinet, the main clave present throughout the
piece is a form of the 3 2 rumba clave:

3 - 2 rumba clave:

The National Geographic World Music website maintains the word salsa is a
perfect metaphor for a genre of music that emerged as a result of mixture: Cuban-
based rhythms played (mainly) by Puerto Ricans in New York City! (Mauleon 2007
para 1) Surfers Paradise Salsa attempts to reflect the fusion of musical styles
described above. I wanted to make use of some musical fusion of my own, so the
section at Letter B was an attempt to fuse a classically inspired lyricism in the
clarinet melody with the clave bass of the salsa, resulting in a musical syncretism of
sorts.

59
This section is in the key of C major which contrasts with the tonic key of C minor.
In the score, the clarinet part is written in concert pitch:

Letter E shows a variation in harmony, with i-bvii-V7-i-bvi-V7-I in A minor. The

final section sees both clarinet and piano joining in playing the main clave, with a
featured portamento in the clarinet to conclude in an exciting fashion.

Rock It Man
A rock piece was a natural inclusion in the composition folio given that styles status
in popular music. Rock It Man is heavily prescribed in terms of articulation
markings, consistent with the theory of establishing a systemic approach to phrasing.
I wanted to include the sound of blues notes (flattened 3rd and 7th notes), so I started
with the following idea:

The chord progression selected, essentially a blues progression, the basis of which is
common in rock music: I-IV-I-IV-I-VI7-II7-V7. To add colour, I decorated the
opening chord Bb7 by incorporating Ab7-A7-Bb7 in the second bar. The form is
compound ternary form: Introduction-A1-A2-B1-B2-A1-A2-coda. The key of Bb
concert was chosen, a very common key in rock music and conveniently a practical
key for a Bb instrument such as the clarinet. The final section modulates up one tone
for added impact. Instead of maintaining upper dynamic levels throughout, I wanted
to encourage an expressive approach partly through the presence of a dynamic range
which spanned from pp ff. The second last bar includes a high F (F4), which is
regarded as quite high at this level (approximately grade 4 5 standard), though the
note F in question conforms to the range set in the grade 4 AMEB syllabus. The
middle section is deliberately improvisatory in nature and relies on the fundamental
but effective chord progression IV-V.

60
Clarimania
The intention here was to introduce the concept of music for prepared instruments.
Experimenting with my clarinet resulted in an instrument comprising mouthpiece,
lower joint and bell. This produced a chromatic scale with irregular and
unpredictable tuning. This can be seen in the table earlier in this chapter. The
compositional process here involved the imitation of musical fragments between
instruments. I wanted to develop an overall musical shape, which in essence built
from soft to loud; small to big.

Bar 18 the compositional technique here involved taking a simple figure on the
clarinet and writing the same notes in the piano part as if those notes were played on
a regular Bb clarinet. When notating the clarinet part, I had the choice of notating an
open G (no fingers down on the Bb clarinet) or middle C (no right hand fingers
down on the Bb clarinet). From the Clarimania clarinettists perspective these
produce the same note and I chose to write this as a G for the clarinettist. However,
in the interests of ease of fingering, I took the liberty of using a middle C in the piano
part instead of the written open G on the clarinet part:

Bar 26 the relationship between clarinet and piano parts is this: the right hand of
the piano plays the concert pitch notes the clarinet player is playing if the clarinet
player was playing a Bb clarinet. At bar 35, imagery based on the interaction of toys
was the inspiration.

With the new instrument being approximately the same size as an Eb sopranino
clarinet, it enabled me to make use of pitch deviation through the players hand being
within easy reach of the underside of the bell. In the same way jazz tenor saxophone
players can use their knee to smother the bell of the instrument and produce a note a
semitone lower than the low Bb of the instrument, its lowest note according to most
texts, I was able to produce a note approximately one semitone lower than the
written low E on the clarinet. (bar 44). The section immediately following was
intentionally Stravinsky-esque, bearing some resemblance to Stravinskys
Petrouchka. The work concludes diatonically with a G major chord.

61
Foofaraw
The word foofaraw was word of the day on an internet dictionary site one day
when I was looking up an entirely different word. To paraphrase, the definition of
foofaraw relates to an abundance of embellishment and ornamentation, so it seemed
a logical step to write a musical piece based on the word and its potential for a
musical treatment. Foofaraw is written in A minor concert and I decided to
incorporate an interesting feature in that the accompaniment part is written for left
hand only. I started with a melodic line and embellished it both with trills and grace
notes, then repeated it, though I reversed the use of ornaments and dynamic level.
This was the trend throughout the piece. I wanted it to be fast, flashy and florid and
to create a piece which contributed to the clarinettists development of a reliable
sense of time from listening to the bass line of the piano throughout.

African Rhapsody
The overall effect desired here was to create simple, dance music, but to be
improvisatory in nature. The piano part was my starting place on this occasion and a
hemiola effect in the left hand underpinned its creation. The ostinato in the piano part
allowed melodic freedom in the clarinet part and gave the piece a simple harmonic
structure:

Four bars before Letter B, I added the right hand of the piano. I included the effect
here of a three-against-two feel, where the left hand has three beats per bar while the
right hand has two beats per bar. The opposite is true in the second of the two bars:

Use of repetition, polyrhythms and accent were features I chose to include, to reflect
the simple sounding nature of African dance music. Letter F presents an augmented
version of the clarinet melody from letter A, reharmonised in a descending pattern in

62
the piano. The overall dynamic and emotional shape is small-big-small; small-big-
small.

2 Cool 4 Skool
Some styles of swing playing involve sitting right on top of the beat, such as the
style of the Stan Kenton Big Band. Other styles are quite the opposite, where the
music feels relaxed and unhurried, as in the style of the Count Basie Big Band. To
reflect the latter style, 2 Cool 4 Skool is a laidback swing piece and I used it to
introduce swing figures characteristic of that style. This involved a heavy backbeat,
with emphasis on the second of a pair of quavers. A chord progression relying on
ascending chromatic movement provided the foundation of style. This was a vehicle
for swing style, so it was ideal for explanation of the language of articulatory lyrics
previously outlined. Extensive use of articulation and phrasing marks were
considered necessary. I used ghosting and exploited range in the clarinet part. The
piano part includes a walking bass section (Letter B) to expose each musician to that
archetypal technique.

Important Occasion
A piece for first grade clarinet, this needed to be very straightforward, which was
reflected by choice of key, tempo, range and technical level. The time signature of
3/4 was chosen over the more common 4/4, however and dotted rhythms were
introduced as the main thematic idea. A ritardando and pause around the midway
point offered contrast. Letter B is a test for the clarinettist to control the throat notes
of the instrument, both technically and tonally. Tone production and quality are
emphases here.

Aunty Hilda
This is in a boogie woogie style, which I felt reflected the ostensible quirkiness of
Aunty Hilda. The driving, mainly quaver bassline in the piano provided the rhythmic
impetus throughout. A strong sense of time is needed for both players to successfully
perform this piece. Bar 19 introduced an ostinato built on octave leaps in the piano
part, with a syncopated right hand. The avoidance of wider, tricky intervals in the
clarinet part was deliberate, given its level of grade three. Harmonically, the piece is
built on a blues chord progression.

63
Strange Goings On
The use of extended techniques was one of the motivating factors in my approach to
this piece. I started with the concept of a spooky, possibly haunted house as
inspiration. This resulted in the accompaniment being written at a fairly low pitch
level with both hands written in the bass clef in places (Letter A). However, extremes
of range were incorporated, which I felt added to the eeriness of the musical effect.
(e.g. bar 21). The clarinet part involves use of extended techniques in the form of
microtonal or timbral tremolos. Fingerings for these are included on the clarinet part,
given they are not part of traditional technique. Tricky intervals in various places
were designed to contribute to the overall mood of the piece. I wanted to encourage a
wide dynamic and tonal range here, so the piece spans pp ff as well as involving a
broad range of contrasting tone colours.

64
 CHAPTER 5

Conclusion
As I have demonstrated, over the past thirty years there has occurred a significant
increase in the inclusion of jazz and popular music works into the mainstream
classical clarinet repertoire in Australia, which is apparent through examination of a
previously traditional classical music syllabus. The introduction of these styles into
the repertoire of the young classically-trained clarinet student raises questions
regarding the ability of the instrumentalist to play with an understanding of style or
the likelihood of appropriate guidance from the teacher who also may not be
sufficiently grounded in non-classical styles. A study of repertoire of this type has
revealed a tendency for there to be little or no support for the uninitiated music
student and for the range of styles and techniques contained within to be somewhat
narrow or limited.

I have addressed this issue by creating a folio of original works which differs from
the body or repertoire currently available. It does so primarily by a combination of
four factors it draws from a wide range of styles from jazz, popular and classical
music, includes stylistic guidance for each piece, offers a series of practice strategies
(for each piece) and combines both traditional and non-traditional techniques. In
extending the structure and content of existing works, I believe I have made a
positive contribution to the repertoire and teaching resources for the beginner to
intermediate clarinet player, both in Australia and elsewhere. As a testament to the
validity of this study, six of the pieces (Important Occasion, Liquorice Stick, Mellie
the Excitable Dog, Strange Goings On, Foofaraw and Surfers Paradise Salsa) have
been included in the new AMEB clarinet syllabus and four of these have been
approved for inclusion in the forthcoming AMEB Series 3 grade books.

Whilst it was my intention to create music which adhered to principles from its
origins, the merging of classical technique with jazz and popular music style always
had the potential to create tensions or divisions. Whether this has caused a rigid
dichotomy between the two or whether the result is undetectable or somewhere in
between can be for others to judge. Opinion may well be determined by the aesthetic

65
perspective of the listeners ears. Should the body of opinion be that the blending of
genres has obviated capturing the essence of each style being captured, I will not
necessarily feel the entire process was a waste of time. For if a syncretic form of
music is the outcome and advancement made in the understanding of other western
styles for the classically-trained musician, I will be satisfied to have extended
existing resources.

Given the shift in repertoire focus for the classical clarinet player, the need exists for
further resources which aid in the understanding of a variety of genres and styles.
From a study of method books reviewed here, it can be seen that a number do
combine various styles, but do little to offer insight into the achievement of stylistic
integrity. A method book which treats all styles of music equally and favours no one
genre would be a welcome addition to the albeit vast range currently available.
Accompaniment CDs are becoming more commonplace and perhaps the need to
produce a CD with both demonstration and accompaniment track in addition to a
piano part is desirable for both this new method book and the folio of works I have
composed here.

Resources offering further insight into styles and sub-styles from the jazz and
popular music genres not represented in this thesis would make a positive
contribution to those currently available for the young clarinet player. Either way,
any addition to the body of repertoire which aids in systematising a more reliable
sense of style and greater range of musical expression can only be a positive
development in music education.

66
 FOLIO

Introduction To Folio
All subsequent pages in this thesis should be viewed from the perspective of a
clarinet student and teacher, as if reading a publication containing compositions and
supporting documentation. To that end, all pages are intentionally formatted in a
single line style.

As outlined in the abstract for this thesis, the next six pages contain information and
advice for the young clarinet player and teacher on a broad range of subjects. These
serve as a preface to the series of compositions, each of which is accompanied by a
page with specific advice related to the style of that piece as well as recommended
practice strategies. It is intended that I will publish the contents of the folio in a
commercially available book, at which time a separate contents page will be created.
This has been omitted here in favour of the contents section at the beginning of the
thesis.

67
 Introduction to Style Guide and Practice Strategies

To the clarinet student and teacher,

This book contains a diverse range of progressive pieces from jazz, popular music
and classical music, incorporating both traditional and extended techniques. The
intention is to provide an entertaining but educationally rewarding series of pieces,
each based on the foundations of classical technique. To encourage the student to
play with greater stylistic insight, the book contains features to assist in practice and
interpretation.

A particular focus of the book is in the area of style. Phrasing in jazz and popular
music differs from that in classical music, so each piece is escorted by a Style Guide
and Practice Strategies page to help you understand and appropriately capture its
musical style.
Through annotations, the Style Guide section provides an overview on the style of
that piece, as well as more specific information about characteristic figures and
sections within the music.
The Practice Strategies section suggests what to target and ways to practise to help
you play each piece better and with a more informed sense of style.

The Style Guide is based on a system where specific items are numbered and the
corresponding number is marked at its location on the music. A description of the
nature of each appears in brackets e.g. (articulation). To further illustrate each style,
all pieces contain detailed articulation and phrasing markings.

On the next page the General Style Guide contains explanations and guidelines for
articulation and phrasing in jazz and popular music styles in a broad sense. These
techniques can be applied to any piece of music you play, regardless of its style.
Given the distinctive nature of swing, the Generic Rules of Swing section provides
clear explanations of various characteristic figures.

I believe the key to capturing style is twofold know the characteristics of the style
and, when articulating on the clarinet, apply a language of lyrics (phonetic sounds)
to the instrument. In this way the student connects the voice (spoken or sung) with
the instrument. The General Style Guide describes this language of articulatory lyrics
and tells you how to apply it. I have incorporated the articulatory language approach
in the annotations for the pieces as outlined in the Style Guide section for each. I
refer to the lyric of the articulation regularly to instil in the students mind the
concept of connecting the voice to the clarinet.

The General Suggestions for the Clarinet Player discusses fundamental areas of
playing and offers suggestions to improve your playing. I urge you to read and apply
the accompanying information and suggestions you will learn more about a wide
range of musical styles and you will develop a better feel for the music.

Brad Millard

68
 General Style Guide
Developing an Authentic Sense of Style
The key to developing a good sense of style in jazz and popular music lies in
following two simple rules. Applying these and knowing where to apply them will
go a long way to playing with an appropriate musical feel:
1. Know the characteristics of the style
Characteristics of each style in this book are described in the Style Guide and
Practice Strategies page for each piece.
2. Practise saying or singing the articulations and apply to the clarinet
Develop a language of articulatory lyrics (phonetic sounds) for each note that you
play. There are essentially only FIVE to learn, which is all you will need in the vast
majority of cases you will encounter.
Developing the Tonguing Technique
Before applying the language of articulatory lyrics approach, it is necessary to
discuss the tonguing technique. Put your clarinet down. Say doo. Take note of the
action of your tongue when you say the word. When you say the d part of the word,
the tongue (near the tip) releases from the roof of the mouth (upper palate) just above
the top teeth. Try it again to check. Does it? When you tongue on the clarinet and
articulate (say) the word doo through the instrument, the reed (near the tip)
effectively becomes the roof of the mouth. That is how to tongue on the clarinet.
When you tongue, it should feel effectively like the reed is the roof of the mouth and
that your voice now sounds like a clarinet. Regardless of whether you say doo,
dah, dut, dart or any other word starting with d, the tip of your tongue repeats
the same action described above. That is a key part of tonguing. The tip of your
tongue should always make contact with the reed (remember near the tip) and
release as you say the d part of the appropriate word through the clarinet.3
Thinking and saying or singing a word (lyric) through the instrument is what I
suggest you do when tonguing, particularly when playing jazz and popular music.
Language of Articulatory Lyrics applying the tonguing technique
The lyrics to apply when tonguing are outlined here. The next section shows their
application to playing notes on the clarinet, especially as applied to articulation
markings (symbols), accents and different note values. 4
doo (or oo if slurred) or DOO
dah (or ah if slurred) or DAH
dut or DUT
dart or DART
dartn

Practise saying each word above (separately and repeatedly) then apply to the
clarinet, using single notes initially. Low register notes are good to use first because
there is little resistance when tonguing those notes. Lowercase words should be

3
There are some occasions when it is legitimate for the tongue not to contact the reed when
tonguing, though not often.
4
These lyrics replicate the action of the tongue on the reed, as opposed to words like dup or
bah.

69
softer and not emphasised. Upper case words are louder and emphasised strongly.
The trick is to know which notes to apply them to, practise saying/singing these
without the clarinet, then apply to the clarinet. As for your approach to practice in
general, slow down and repeat over and over as necessary. The action of the tongue
should be similar to that described under Developing the Tonguing Technique
above.
Attack and Duration
When you encounter articulation and phrasing markings, there are some simple rules
to apply in jazz and popular music which are similar to, but not always the same as in
classical music. As a general rule the following apply:

Notes marked with a sideways accent (>) play long and accented
Notes marked with a hat (^) play short and accented
Note marked with a tenuto line (-) play long, no accent
Notes marked staccato (.) play short, no accent

Combining what you learnt in Language of Articulatory Lyrics with Attack and
Duration, heres what to say/sing through your clarinet for each note marked as in
the following:

The Application of Articulation and Phrasing Marks in Jazz and Popular Music
Example 1 Example 2 Example 3 Example 4
(med to fast tempo)

Example 5 Example 6 Example 7

(slow tempo)

In theory, the interpretation of example 6 is correct, though some composers use

combination of accent and staccato mark to refer to a short accented note (as in
DUT). The interpretation in Example 7 is also appropriate, particularly at a slow-
ish tempo or if the style is laidback. (see the piece 2 Cool 4 Skool)
Phrasing
The term phrasing generally refers to the way the notes are articulated, shaped and
inflected, resulting in the overall style achieved. However, it also involves the small
sections of music (usually 2, 4 or 8 bars) a piece is built on the musical sentences.
It is important to recognise phrases and to shape them and the piece as a whole, both
dynamically and emotionally. Metaphorically, a musical performance as a whole is
like a jigsaw puzzle. Small sections combine to form larger sections which combine
to form the big picture. In a performance, notes combine to form phrases which
combine to form larger sections which combine to form the big picture.

70
Generic Rules of Swing
Swing is a specialised field and its rhythmic and phrasal characteristics cause
problems for some, so a whole page is devoted to explaining its idiosyncrasies. In
earlier forms of swing the 1st of a pair of quavers was emphasised. Current practice is
to emphasise the 2nd of a pair of quavers. Also, swing styles vary - some play directly
on the beat/tempo. some others sit back on the beat (laidback style) and some almost
push slightly. Compare the Count Basie style (laidback) with that of Stan Kenton
(more direct).

In current practice, the 2nd of a pair of quavers is emphasised, as in examples 8 and 9

Example 8 Example 9

Notes of other value that fall on the second of a pair of quavers are also usually
emphasised or stressed (example 10), but not always (example 11)
Example 10 Example 11

Crotchets should be played short unless otherwise stated (example 11)

Quavers are played full length, though the final quaver of a series is played short
(example 12 and example 9). Note: all consecutive quavers should be tongued, but
well connected (no detaching) unless specifically stated in the music.
Example 12

= or

A crossed notehead (x) means the note should be ghosted. To ghost a note, you go
through the act of playing the note as normal, except you trap the very beginning of
the note with your tongue. The aim is not to get a full clarinet sound, rather you
should try to imply the pitch instead of fully state it. See example 13 below.
Example 13

71
 General Suggestions for the Clarinet Player
Performing and Interpretation
When you play, try to make music. Express yourself, tell a story, play with character
and personality your personality. Play dynamically. Dont just play exactly what is
written. Use your imagination. Many expressive subtleties are possible that are not
necessarily indicated on the part. For instance, do more with dynamics, accents,
ritardandos, accelerandos and so on. Use judgement and discretion. Listen to the
opinion of your teacher and others. Listen to recordings and live performances of a
wide range of styles. Listen closely to them. Analyse and assess them. Dont copy
them, but allow them to influence your playing. See previous comments about the
big picture under Phrasing in the General Style Guide.

Performing is not just about how you play your instrument. Its visual too. And
remember, your performance effectively starts as soon as the audience can see you.
They form an impression of you even before you start playing. Give thought to how
you present yourself on stage. Consider the type of occasion. What should you wear?
Make sure its comfortable to play in. Position yourself so you have eye contact with
your fellow musicians but make sure you play towards the audience.
Practising
Practising and improving is the key to becoming confident enough to really express
yourself when you play. Regular practice is the best way to improve as a musician
the more consistent the better. Daily, intelligent, focused practice. Your practice
session should have structure. Dont just play. Analyse and identify things you do
well and things that need improving. What aspects cant you do as well as youd
like? How can you improve these? Isolate them and work on them. If its, say, an
interval practise that interval. Dont just go back to the beginning of the piece and
repeat it. Each day you should spend a certain amount of time on tone production,
technique (applies to a range of aspects) and then pieces.

Practice slowly. Use repetition. Deal with things as they occur. Be flexible in your
practice - dont practise something the same way each time, especially if its not
improving to your satisfaction. Look for commonalities if you practise a section
that returns later in the piece, share the attention between each of these, so that your
brain absorbs and links these where each occurs. Practise is about forming good
habits in your playing. Try to include all detail straight away, if at a slow tempo. This
includes notes, rhythm, articulation and dynamics.
Research
Find out about the music youre playing. This includes style, composer, title of piece
and so on. The style guide accompanying each piece in this book has useful tips for
each, but does so in the limited space available. You can find out more about each
style by listening to music of that type, researching via the internet, books or other
sources and by discussing with your teacher and other interested parties.

72
Rhythm
Practising rhythm without the instrument is very beneficial. This can be done in a
few different ways: practise clapping the rhythm of the notes and counting aloud (1
and 2 and ); practice saying/singing/vocalising your notes (dah-dah-dah etc)
while clapping the pulse of the music and practise the second way while
incorporating the articulation as marked. Then apply to the clarinet.
Rehearsal and Cueing
Learn the piano part/ score and rehearse with your accompanist/performers as many
times as necessary to be organised and confident. Cueing your accompanist is
common practice in classical chamber music. It allows both players to commence
reliably without the possible distraction of counting aloud. When you cue, the
clarinet becomes the equivalent of a conductors baton. The conductor lifts the baton
(called the upbeat) and brings it down (the downbeat) at the tempo of the music - you
should do the same with the clarinet. Practise breathing in on the upbeat and
producing a tone at the bottom of the downbeat. The upbeat and downbeat should
occur at the tempo you are about to play at, but pick an appropriate note value within
that tempo.
Breathing and Tone Production
The clarinet is a wind instrument. Breathe deeply each and every time you breathe,
then project your air through the instrument with support from your abdominal and
associated muscles. This helps you control the sound at all dynamic levels and over
the whole range of the instrument. Try to hear the quality of sound you wish to
produce before you produce it.
Timbre (tone colour)
Hear the quality and colour of sound that you want to produce before and as you
play. Try this - using your voice, try to imitate the voice of someone very familiar to
you. Try articulating a short sentence, endeavouring to sound as they would. As you
hear the sound of their voice in your head the tone of your voice will automatically
adjust so it sounds more like theirs. You may not achieve a perfect imitation, but the
tone colour of your voice will be more closely matching theirs. By hearing a sound in
your head, your body will physically adapt to capturing that sound.
Dynamic range
Develop and play with a wide dynamic range. This contributes greatly towards
making an impact in performance and helps you say what you want to say.
Articulation
The articulation (tonguing and slurring) of a piece is very important in contributing
to the overall style of that piece. Its a good idea to play with the marked articulation
from the outset when you learn a new piece, rather than adding it later. Practise
saying/singing as referred to previously.
Aural Training
Listening to and analysing music is a form of aural training. Listen to a recorded
track over and over and try to identify and assess the musical components, such as
instrumentation, tone quality, intonation, melodic line, harmony and of course
overall musical interpretation or shape. Dont try to hear all the above at once pick
one or two of these and focus your attention on them. This will help inform your
playing.

73
 The Compositions

Please note: commencing with this page the Style Guide and Practice Strategies
page for each composition has deliberately been placed to the left of the title page of
the sheet music to which it relates.

74
 Liquorice Stick
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
Liquorice Stick is written in a swing style, which means quavers are played as
follows:
Keep the playing lighthearted and fun. Where two articulations are
written (e.g. Letter A) choose which you prefer. The upper, more
slurred version will produce an older style of swing. The lower version will produce
a more modern result. The latter style is what I would recommend you usually do
in a swing piece. Sit on top of the beat (see General Style Guide) but dont be in a
hurry either. The accompaniment has a 2 feel, which means it has a 2 minim per
bar feel/lilt, even though the time signature is 4/4.
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Letter A (swing phrasing)
Lower case words should be soft and upper case words should be louder and more
emphasised. Make sure you connect the words, then when applied to the
instrument, the notes:

Upper phrasing:

Lower phrasing:

2. Bars 5 & 6 (swing phrasing)

Here is an example of an occasion when the ON beat note may be emphasised.
How do you know when to stress the first or second of a pair of quavers? The
answer is a question - which one sounds better or more appropriate at the time?
3. Letter B (swing phrasing)

4. Letter C (legato)
Keep the quavers swung but slur as written in this case.
5. Letter E (accent and inflection)
Slightly accent each note but dont tongue until bar 41.
Practice Strategies
Practise the swing phrasing as above. Focus on the singing/saying before playing
approach. Practise each phrase separately. Practise clapping the rhythm and
counting aloud. Then practise clapping the beat and saying/singing the notes with
the correct articulation and phrasing. Do small sections, then apply to the clarinet.
Again, analyse the piece and practise the sections that are alike one after the
other.
To help achieve good swing phrasing, practise singing/saying the articulation
(lyrics) several times before applying to the clarinet.

75
 This is lighthearted and should be fun to play. Enjoy the interaction with the piano and swing the rhythms
as much as you can, but keep your playing light. Where there are two articulations choose
one or the other. The above will produce an earlier style, but no less pleasing.
'Liquorice stick' is a slang term for a clarinet.
Clarinet in Bb
Liquorice Stick
(2)
Brad Millard

Swing - light and fun q = 112 A (1)




mf
6
sim. mp






mf mp
11 B (3)








C (4)
mf mf

16




p

22


mf cresc.
D

27


f

31




35 E (5)



pp cresc.

41


mf cresc. f

44

Copyright 2007
76
 This is lighthearted and should be fun to play. Enjoy the interaction with the piano and swing the rhythms
as much as you can, but keep your playing light. Where there are two articulations choose
one or the other. The above will produce an earlier style, but no less pleasing.
'Liquorice stick' is a slang term for a clarinet.

Liquorice Stick Brad Millard

Swing - light and fun q = 112 A

Clarinet in Bb

Clar part written
major 2nd higher mf

Swing - light and fun q = 112 A

mf

Piano

Use sustain pedal sparingly or not at all
(throughout)

5
sim.


Cl.


mf mp


mp

mp mf mp

Pno.

B

10

Cl.

mf
B







mf

Pno.

15



Cl.
p

mf
C




p
Pno.




Copyright 2007
77


21

Cl.

mf cresc.

mf


Pno. cresc.


sim.

D

27

Cl.

f

Pno.




32

E

Cl.

E


pp cresc.

Pno. pp cresc. sempre




37

Cl.




mf cresc.

Pno. sim.

mf cresc.

42

Cl.


f

Pno.

f


78
 Mellie the Excitable Dog
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
Imagine a small, hyperactive dog running around excitedly and leaping up on
everyone thats Mellie! Play each section of music to reflect her varying states of
excitement. To help do so, play dynamically, with lots of energy in general. See
below for suggested use of accent, staccato and pitch bend. Use your imagination
and good judgement and play in a style that sounds good to you.
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Bar 1 (extended technique - breathy pant)
To make the panting sounds (represented by the crossed notehead), place the
mouthpiece in a very open, relaxed embouchure, finger any note of your choosing
and blow in and out to produce a breathy sound, not clarinet tone. Fingering low E
is recommended to help achieve projection of the sound. If you can't pant up to
speed, do not despair. Just do it as quickly as you can, while making sure you
keep counting at the tempo of the music. Featuring the panting sounds by lifting
the bell in the air would sound and look good.

2. Upbeat to Letter A (musical expression)

To reflect Mellies excited state, set the scene by playing this entry energetically.
Keep staccatos very short and crisp and try using slight accents on the first three
notes of bar 6. Play the staccato notes by thinking dut-dut-dut-dut etc.
Practise saying/singing the articulation, then applying to the clarinet.

3. Letter C (musical expression)

Mellie has settled down, so keep the legato notes soft, smooth and well-
connected.

4. Bars 41 46 (timbral variation and interpretation)

Play loudly, with lots of energy. It might sound effective to deliberately allow
your sound to become a little less refined here, but dont overdo it. You could
make use of slight pitch bends if you like the sound. For instance, refer to the three
crotchets at bar 41 - try scooping up to the As and down to the F. Have fun with it.
Practice Strategies
Analyse the form and practise each like section one after the other. Note the
similarities and differences.
Practise each panting section separately. Start slowly and gradually build up
speed.
Try fingering the As at bar 6 as per the fingering in Important Occasion.
If the upper Cs in bar 44 are causing problems, practise the bar slurred and slowly
at first, then add the articulation.
In bar 45 dont use the vent key for the Dbs.

79
 Mellie is the most excitable dog I know. To make the panting sounds, place the mouthpiece in a very open,
relaxed embouchure, finger any note of your choosing and blow in and out to produce a breathy sound, not
clarinet tone. Fingering low E is recommended to help achieve projection of the sound (so the audience can
hear it). If you can't pant up to speed, do not despair. Just do it as quickly as you can,
while making sure you keep counting at the tempo of the music.
Clarinet in Bb
Mellie the Excitable Dog Brad Millard
Happily q = 126
Breathy
pant
through
clarinet


f
(1)

A
(2)
5

mp

10



cresc.

14 B





f

18

22 (3)
C





mp p cresc. mf

27


f
Copyright 2007

80
 Clarinet in Bb
32 D



p

37



cresc.

(4)
41 E



f

45

49 F


mf
cresc.
mp cresc.

54


f

56

81
 Mellie is the most excitable dog I know. To make the panting sounds, place the mouthpiece in a very open,
relaxed embouchure, finger any note of your choosing and blow in and out to produce a breathy sound, not
clarinet tone. Fingering low E is recommended to help achieve projection of the sound (so the audience can
hear it). If you can't pant up to speed, do not despair. Just do it as quickly as you can,
while making sure you keep counting at the tempo of the music.

Mellie the Excitable Dog Brad Millard

Happily q = 126

Breathy pant through clarinet

Clarinet in Bb
Clar part written
major 2nd higher f

Happily q = 126

mf mp

Piano

A

4

Cl.

mp

A


Pno. mp


sim.

9

Cl.

cresc.

Pno. cresc.

14 B




Cl.

B


Pno. f





Copyright 2007
82
 C

19

Cl.

mp

C







mp
Pno.

24

Cl.
p cresc.
mf

Pno. p cresc. mf

29
D

Cl.

f p

D



p

Pno.

35

Cl.

cresc.

Pno. cresc.



sim.
83
 E

40

Cl.
f

E







Pno. f

44

Cl.

f

Pno.

49 F

Cl.
mp cresc. mf

F






mf

mp cresc.

Pno.

53

Cl.

cresc.

f



cresc.


Pno.

56

Cl.
f




Pno.

f




84
 Surfers Paradise Salsa
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
This is dance music, so both instruments need to play rhythmically and to closely
observe articulations to help capture the feel. Keep steady time, but stay relaxed
not stiff and wooden. Quavers are played straight and unless otherwise stated, full-
length.
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Letter AA (Salsa clave)
This two bar phrase (clave) forms the basis of the piece. It needs to be in time,
with a good feel based on the written articulations.

2. Letter A (tone production and tempo)

Project your sound and play strictly in time.

3. Letter B (musical expression and contrasting tone colour)

The section from bar 25 40 should be sweet and classical sounding for
contrast. Play quavers full length unless otherwise marked.

4. Letter E (phrasing and dynamics)

Try a slight crescendo from the first bar to the second of each two bar phrase if
you like.

5. Second last bar (portamento technique)

Ideally this should be a Rhapsody in Blue style portamento, where the fingers
slide off the keys and the throat is open. If you cant manage it, play chromatically
(glissando). Note: both portamento and glissando are the technique of sliding
between notes. I have made a distinction here where portamento is a seamless,
trombone-like slide and glissando is chromatic.
Practice Strategies
Practise the clave at bar 5 using the following tonguing lyrics over and over
until it sits, then apply to the clarinet, saying the same thing through the
instrument as if your voice now sounds like a clarinet.

In general, practise clapping the rhythm and counting aloud. Then practise
clapping the beat and saying/singing the notes with the correct articulation and
phrasing. Do small sections, then apply to the clarinet.
Bar 9 section play side key Bb fingering.
Practise the melody at 17, then practise the transposed version at bar 66.
Practise bars 25 40 and bars 49 65 more conventionally expressively than
other sections like the clave and the main melody. (Letters A, F and elsewhere)
Rehearse matching sections between clarinet and piano so they are phrased alike.

85
 Salsa literally means "sauce" in Spanish, but is also used to describe a type of Afro-Cuban dance music which
incorporates elements of jazz and rock. Salsa is characterised by its reliance upon a two bar rhythmic figure
called the clave. In 'Surfers Paradise Salsa', the main clave can be found in bars 1 and 2 of the piano part,
as well as the 1st two bars the clarinet plays. Endeavour to keep the rhythm and tempo steady and controlled.

Clarinet in Bb
Surfers Paradise Salsa
(1)
Brad Millard
Brightly q = 132
AA




mf
8

12

17
(2)
A




mf

21

(3)
B

25

p dolce

29


mp

Stately
C

33

pp

37

Copyright 2007

86
 Clarinet in Bb
41

D

mf

45

49 E


(4)


sim.

mp

54

58

sim.

62

66 F


f

71

G

76

sim.


f
mf

(5)




80

87
 Salsa literally means "sauce" in Spanish, but is also used to describe a type of Afro-Cuban dance music which
incorporates elements of jazz and rock. Salsa is characterised by its reliance upon a two bar rhythmic figure
called the clave. In 'Surfers Paradise Salsa', the main clave can be found in bars 1 and 2 of the piano part,
as well as the 1st two bars the clarinet plays. Endeavour to keep the rhythm and tempo steady and controlled.

Surfers Paradise Salsa Brad Millard

Brightly q = 132

Clarinet in Bb
Clar part written
major 2nd higher
Brightly q = 132




Piano mf



Use sustain pedal sparingly or not at all
(throughout)

5 AA

Cl.

mf

AA





Pno.

Cl.

sim.

Pno.

13

Cl.

Pno.



Copyright 2007
88
 A



17

Cl.

mf

A


mf
sim.


Pno.

22

Cl.
p dolce
B dolce



p
Pno.

27

Cl.
mp

mp


Pno.

C

Stately

32

Cl.

C Stately
pp

Pno. pp

D

37

Cl.

mf

D


mf

Pno.

89


42

Cl.

sim.


Pno.

E

47

Cl.
mp
E







Pno. mp

51


sim.
Cl.






Pno. sim.

56


sim.


Cl.

Pno.

61

Cl.




Pno.



90

F

65

Cl.

f

F









sim.

Pno. f

69

Cl.















Pno.



74
G

sim.


Cl.

mf

G






Pno.

79

Cl.




f

Pno.

f

82

Cl.



sim.



Pno.




91
 Rock It Man
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
Rock It Man should not be played demurely. It needs to be energetic and almost
aggressive, but not over the top. The articulation markings will help you achieve a
good sense of rock phrasing, but try to absorb these so you can start to instinctively
phrase similar pieces. The middle section (Letter C) is quasi-improvisatory in nature,
so learn it well but play it in a spontaneous way. That could mean taking liberties
with phrasing, tonal and pitch inflection. That is, feel free to bend notes, change your
tone colour (hear the sound you want to make in your head as you play) and phrase
in a way that sounds appealing.
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Letter A (phrasing)
Play with a strong sound, but save your upper dynamics for later in the piece.
Observe articulatory lyrics below. You could say dut-dut-dut for the first three
notes - choose which you prefer. Note: the final quaver in bar two (followed by a
rest) is short as in swing but no other quaver is favoured. In general, unless
otherwise marked apply that principle to rock - crotchets short, quavers long.

2. Letter B (phrasing)
Quavers are specifically marked to be played very short as evident from the
unusual move of assigning both a (^) hat and a staccato mark to each note.
3. Letter C (improvisation section)
See Style Overview above

4. Bar 39 (drop off technique)

A drop off (or fall) is created by playing a rapid descending chromatic scale while
decrescendoing so no final note can be heard. The duration and range depends on
the context. At bar 39, commence the drop off on about the 3rd beat and drop off
for about the interval of a 5th 8ve. .
5. Letter D (phrasing)
This shows how the section should be played as is, though it would also sound
good to articulate dah-dart, dah-dart. The staccato note
sounds better not too short. Clarinet and piano should match.
Practice Strategies
Practise saying the articulation in sections (refer to the Attack and Duration
section in the General Style Guide.) Say it with intent and apply to the clarinet.
Look for where sections return and practise these separately (includes the change
of key at Letter F). Note differences in phrasing if any.
Observing articulations straight away is suggested, but if youre struggling, break
the piece into small chunks, slow down and practise without the articulation, then
add them when the fingers are under control.
Make sure Letter E is soft and builds till the end. Practise this accordingly.

92
 You can really sink your teeth into this. Observe the phrasing marks
to help capture the right style. Project your sound
and your musical ideas. Play with energy!
Clarinet in Bb
Rock It Man


Moderate rock q = 120 Brad Millard

A




mf
(1)
9






B
(2)

13

17

(3)
C

22

26

30





3

33

(4)

36

ff

(5)
40 D

V.S.
Copyright 2007
93
 Clarinet in Bb
E

46

p

51

55



F

57

pp



62

mf cresc.

cresc.
66


ff

94
 You can really sink your teeth into this. Observe the phrasing marks
to help capture the right style. Project your sound
and your musical ideas. Play with energy!

Rock It Man Brad Millard

Moderate rock q = 120

Clarinet in Bb

Moderate rock q = 120







Piano mf RH tacet 1st time



A Use sustain pedal sparingly or not at all
5
(throughout)

Cl.

mf

A




Pno.



mf

B
10

f
Cl.

B








Pno.

f

15

Cl.

Pno.








C
19

Cl.

f
C




Pno. f


Copyright 2007
95


23

Cl.

sim.

Pno.

27

Cl.

Pno.

31

Cl.


3

sim.

Pno.

35

Cl.
ff

Pno.

40D

Cl.

D





Pno.


sim.

96
 E

45

Cl.

E






Pno. p

50





Cl.

Pno.




F

55

Cl.


f
F





Pno.
f





59

Cl.

pp

cresc.

pp cresc.

Pno.

63




Cl.

mf cresc.

cresc. f


Pno. mf


sim.
97


67

Cl.

ff

Pno.

ff

98
 Clarimania
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
Clarimania is nowhere near as difficult as it may look, because all notes lie well
under the (right hand only) fingers. It is to be played on a new instrument
consisting of mouthpiece, lower section and bell, which is called a prepared clarinet.
(you may have to use another mouthpiece if yours doesnt fit.) Only the right hand is
required for fingerings, so hold the bell with the left hand to keep the instrument
steady. The new instrument produces an unexpected scale. Keeping your playing
metrical and observing articulations will help achieve the robot-like effect
mentioned.
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Bar 1 (articulation)
Tongue as in dut dah-dah dut dah-dah etc. That is, short on staccato notes and long
on non-staccato notes.

2. Letter B (accent and musical expression)

Slightly accent each tongued semiquaver and play loudly and forcefully.

3. Letter D (dynamic contrast)

Observe the lower dynamic, with the contrast in the following bar.
Practice Strategies
Slowly practise the chromatic scale produced by the new instrument and
familiarise yourself with the resulting pitches.5 The upper staff of the following
shows the written notes the clarinet player plays and the lower staff displays the
concert pitch of each.6 The final note, G, is open G on the instrument. (no
fingers down)

Try positioning the left hand where it feels comfortable and does not affect the
pitch unless required. (see bars 44 and 47)
Look through the whole work, identify each different section of music and
practise these separately.
Identify each notation grouping at bar 18 and isolate and slow down in practice
The left hand is used to muffle the sound and produce the lower pitch. To do so,
position a more or less closed left hand over the bell and cover and release
according to the rhythm marked.
Practise at a steady tempo generally.
5
Alternative fingerings may not be possible.
6
Concert pitches are approximated. Notes are not in tune and not meant to be.

99
 This is played on a "prepared" clarinet comprising only 3 of the 5 components of the instrument! Doing so
produces an unusual scale. Refer to the Style Guide Overview on the left page. On the piano part, the upper
clarinet stave shows what notes to finger; the lower stave shows the approximate pitches that actually
sound. Don't be concerned when notes are out of tune - that's part of the effect of "Clarimania".

Prepared Clarinet
Clarimania
(1)
Brad Millard
q = 96

Robot - like (No fingers down)

mp
5

13 A



B (2)
p
16

19 f

21

23

24

Copyright 2007
100
 Prepared Clarinet
26 C


ff

28

30

32

35
(3)
D




mp mf mp
Prepare for wa-wa
38 E

effect in bar 44

mf f
Wa-wa effect - place LH over bell for the notes marked with

a + to produce a muffled note approx 1 semitone lower
42




p
mp
45






mp
50



ff sub
101
 This is played on a "prepared" clarinet comprising only 3 of the 5 components of the instrument! Doing so
produces an unusual scale. Refer to the Style Guide Overview on the left page. On the piano part, the upper
clarinet stave shows what notes to finger; the lower stave shows the approximate pitches that actually
sound. Don't be concerned when notes are out of tune - that's part of the effect of "Clarimania".

Clarimania Brad Millard

q = 96
Robot - like


Prepared Clarinet

mp

Clarinet concert pitch
mp

q = 96

Robot - like


Piano mp

4
(No fingers down)

Cl.

Cl.

Pno.

7


Cl.

Cl.





Pno.

Copyright 2007
102
 10


Cl.

Cl.



Pno.

13
A
Cl.

Cl.

A


Pno. p

16
B



Cl.
f

Cl.
f

B




Pno.

f

19


Cl.

Cl.

Pno.

103
 21


Cl.

Cl.

Pno.

23


Cl.

Cl.

Pno.

25
C


Cl.

ff

Cl.
ff

C


Pno. ff


27


Cl.

Cl.

Pno.



104
 29


Cl.

Cl.

Pno.


31


Cl.

Cl.

Pno.



33
D



Cl.

mp

Cl.

mp

D



Pno.

mp

36


Cl.

mf mf

mp

Cl.

mf mf

mp

mf
mf
Pno. mp


105
 39
Prepare for wa-wa E

effect in bar 44

Cl.

f p

Cl.

f p

E





Pno. f p

43
Wa-wa effect - place LH over bell for the notes marked with
a + to produce a muffled note approx 1 semitone lower

Cl.

mp




Cl.

mp

Pno. p

47


Cl.

mp

Cl.

mp



Pno. p

50


Cl.

ff sub


Cl.


ff sub







Pno. ff sub

106
 Foofaraw
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
See above the title in the music for the meaning of the word foofaraw. Overall
Foofaraw should be energetic, fast and flashy, but it is full of contrast as you will
discover. Feature accents, ornaments and staccato, but pay close attention to both
upper and lower dynamic levels, including the gentle middle section where a smooth
legato style should be the goal. Listen keenly to balance between instruments, as the
pianist plays with the left hand only. The final section should be fast!
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Bar 1 (tone quality and production)

Play with a strong sound. Think about what tone colour youre aiming for
refined, gypsy-like, other? You choose. The echo section from bar 9 should be soft
and controlled, so breathe deeply to prepare for it.

2. Letter B (musical expression)

This second section at B can be humorous and clown-like. Play with energy.

3. Letter F (tonal contrast)

Highlight the change of mood. Play softly and expressively, with a creamy-
smooth legato and lovely clear, warm tone quality. Play in tempo, but relax so you
dont sound like youre in a hurry.

4. Bar 85 (accelerando)
Aim for a driving and exciting accelerando to the finish. Play staccatos short.
Practice Strategies
Start at a leisurely tempo and practise without any of the ornaments (trills,
crushed notes, grace notes)
Trills and other ornaments are everywhere, so they need to be good. As
necessary, practise each separately and slowly at first. Try this for the trilled
section at bar 2. After A, move to G and so on. Keep fingers close to the keys:

To establish a wide dynamic range, choose a slower tempo and play bar 1, rest,
bar 5, rest, bar 1 etc over and over so you can compare your f to your p:

Note the accent on the first of each pair of grace notes at bar 22, so you can play
these ON the beat if before the beat is not manageable. Bars 26 28 too.

107
 Foofaraw may sound like a made up word, but it is an actual word which means an abundance
of flashy decoration or ornamentation, as evidenced by the trills and grace notes
prevalent in this piece. This is written for clarinet and piano - left hand only.
Clarinet in Bb
Foofaraw


Brightly q = 132 Brad Millard
(1)



f





9 A



p


(2)

17 B


f

24 C





p

31

D




f
40

E





F
p

48 (3)

56

mp





mf

63 G


pp

72


mf Copyright 2007
108

Clarinet in Bb

(4)


H

80




accel.
f
89

I

ff

94

accel.

109
 Foofaraw may sound like a made up word, but it is an actual word which means an abundance
of flashy decoration or ornamentation, as evidenced by the trills and grace notes
prevalent in this piece. This is written for clarinet and piano - left hand only.

Foofaraw Brad Millard

Brightly q = 132

Clarinet in Bb
Clar part written
major 2nd higher f

Brightly q = 132

Piano



f

A
9

Cl.
p

Pno.




p

B C

17

Cl.
f p

B C

Pno.




f p

D


26

Cl.
f

Pno.


f
Copyright 2007
110



E


35

Cl.

Pno.


p

F

44

Cl.

mp

F



Pno.

mp

53

Cl.

mf

Pno.


mf

G

62

Cl.
pp

G

Pno.


pp
111


71

Cl.

mf

Pno.



mf

H





80

Cl.

f accel.

Pno. accel.




f

I






88

Cl.

ff

Pno.


ff

93 accel.

Cl.

Pno. accel.

112
 African Rhapsody
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
This relies on a steady pulse (groove) throughout. Listen for the hemiola effect in the
piano part and keep control of the 2 against 3 feel. (or 3 against 2 as the case may
be). Observe the big picture bring out the dynamic and emotional shape of the
music.
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Letter A (style)
Keep it smooth and relaxed, with a well-connected legato or soft tongue if
required.

2. Letter B (polyrhythm)
Play a little louder here and feature the 3 against 2 rhythms, such as at bars 21, 23,
25.

3. Letter F (expressive legato)

Play with a pure tone, well-connected legato and very expressively.

4. Letter G (musical shaping)

This needs to build to the climax, then wind down until the end.

5. Letter I (poly-stylistic)
This is a kind of quasi-swing effect over the bass line. You can backbeat strongly
here (as per accents). Backbeating sometimes refers to playing a strongly on beats
2 and 4, particularly on the drums. It can also refer to the emphasis on the second
of a pair of quavers in swing.
Practice Strategies
Depending on how well you manage, try practising African Rhapsody at the
tempo of
Playing steadily in time throughout will go a long way to producing the right feel
Practise Letter F slowly, focusing on tone quality and intonation. Can you hear the
source of the melody?
Letter I is written so it sounds like swing over a world music beat. The effect is
like this:

Try practising sections with the left hand alone of the accompaniment part. This is
the gist of the style of the music here melody and bass line.

113
 This piece is somewhat free and improvisatory in nature and has a quasi-African beat.
Keep the pulse steady to help bring out the dance-like nature of the music.
Observe the rhythmic detail carefully and don't forget to play with dynamic contrast.

Clarinet in Bb
African Rhapsody
(1)
Brad Millard

Driving q. = 112

A


p
11





(2)


19 B


mp

27


mf

C

35

pi mf

41

mp

46

decresc.
53 D






p

F (3)

E

61

mp espress.

77

mf
Copyright 2007
114

Clarinet in Bb

(4)

87 G


mp cresc. sempre

94

mf cresc.

99

H

105





f



111

117

cresc.

(5)

121 I

128

J
135

mp decresc. 115
 This piece is somewhat free and improvisatory in nature and has a quasi-African beat.
Keep the pulse steady to help bring out the dance-like nature of the music.
Observe the rhythmic detail carefully and don't forget to play with dynamic contrast.

African Rhapsody Brad Millard

Driving q. = 112 A

Clarinet in Bb
Clar part written
major 2nd higher p

Driving q. = 112 A

Piano




p
sim.

Use sustain pedal sparingly or not at all

(Letter E excepted)

Cl.

Pno.

14

Cl.

Pno. p




20 B

Cl.

mp

B




mp

Pno.

26

Cl.

mf

Pno. mf


Copyright 2007

116
 C


32

Cl.
pi mf

C







pi mf

Pno.

38

Cl.

Pno. f

44

Cl.

mp decresc.

Pno. mp decresc.



50 D




Cl.

D


p

Pno.


56 E

Cl.

espress.
E







Pno. mp




117

F

63

Cl.

F mp espress.

Pno.


2

72

Cl.

mf

mf

Pno.

82 G

Cl.
mp cresc. sempre

Pno.


mp

90

Cl.

Pno. mp cresc. sempre

96

Cl.

mf cresc.

Pno. mf cresc.





118

H


102

Cl.
f

H







Pno. f sim.

108

Cl.

Pno.

gliss.

114



Cl.

cresc.




Pno. cresc.

I

120

Cl.
f

I










f

Pno.

126

Cl.

Pno.


119
 J

132


mp
Cl.

decresc.

J






Pno. mp









138

Cl.

Pno.



p

120
 2 Cool 4 Skool
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
A strong swing feel will make this sound good. As a swing piece, quavers are
interpreted as:

Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Bar 1 (laidback swing phrasing)
To produce a strong, modern swing feel, emphasise the second of a pair of quavers
and, as a rule, other notes that occur on the and of the beat as indicated below.
Play notes on the beat fairly quietly. Apply the language of articulatory lyrics.
Upper case words are louder and more emphasised than lower case. At a moderate
tempo such as this and with laidback swing specified, notes with a hat (^) should
not be too short, as in DART. This helps to make it sound cool. Make sure you
connect the first two notes to each other, then the next three. Dont connect the
notes in the figure after that, though, because they commence with the crotchet
marked DUT which by nature, is a short, disconnected note.

Try the version on the right as an alternative to the

above. In this case, the emphasis is less on attack
and more on the tone of the note. Do it if you prefer:
2. Bar 4 (jazz turn) In jazz/pop the turn is played like grace notes (see bar 28 also)

3. Bar 12 (ghosting) bar 25 (see bar 33 also)

The x notehead refers to ghosting which is the technique of articulating a note

so the pitch is implied rather than fully stated (with an open tone). Practise saying
the lyrics above and take note of the feel of the tongue on each note. Then apply to
the clarinet, where the reed effectively becomes the roof of the mouth. NB: had
the above been phrased without slurs, articulatory lyrics would be the same.
Practice Strategies
Practise clapping the rhythm and counting aloud. Then practise clapping the beat
and saying/singing the notes with the correct articulation and phrasing. Do small
sections, then apply to the clarinet.
dont forget to observe dynamics and make the f parts exciting.

121
 Look at him strutting around like he owns the place.
He just thinks he's so cool...trouble is..he is!
Clarinet in Bb
2 Cool 4 Skool


Brad Millard

Laidback swing with attitude q = 102 (2)





mp (1)

fp

A

9
(3)

mf

13

B

17

21





mf cresc.

(2)
C


25


f (3)

30


3

f sub.

(3)
p sub.
33



3 ff
Copyright 2007

122
 Look at him strutting around like he owns the place.
He just thinks he's so cool...trouble is..he is!

2 Cool 4 Skool Brad Millard

Laidback swing with attitude q = 102

Clarinet in Bb
Clar part written
major 2nd higher mp
Laidback swing with attitude q = 102

mp

Piano



Use sustain pedal sparingly or not at all

(throughout)

3


Cl.

fp









A


8

Cl.

mf

A






mf

12
3


Cl.












Copyright 2007 quasi walking bass
123
 B


16

Cl.
p

B



p


sim. sim.

20
Cl.

mf

cresc.

mp

mf cresc.



24
C

Cl.
f

f
3 3

28

3


Cl.
f sub.

p sub.

p

f sub.



124



32



Cl.
ff

ff

125
 Important Occasion
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
Important Occasion should be played expressively, but with a simple, no-nonsense
approach. As the title suggests, play in a serious manner and aim for a refined, well-
projected tone with an appropriate balance between clarinet and piano. Breathe
deeply and aim for a wide dynamic range.
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Bar 1 (tone quality)
Try to hear a beautiful, rich, centred sound in your head and pitch each note
before you play it. To help do so, each time you take a breath, breathe deeply,
focus the air and project it with certainty through the instrument.

2. Letter B (musical expression)

Play softly and slightly emphasise the first beat of each bar to bring out the music-
box effect.

3. Bar 15 (articulation)
To play staccato in these two bars, tongue each note as indicated. Practise
singing/saying this first, with the lyrics below, then apply to the clarinet:

Practice Strategies
To cue the opening note, choose the tempo you wish to play the piece and execute
the cue during an imaginary beat before the first note. (see complete notes on how
to cue in the General Suggestions for the Clarinet Player)
Articulation - keep the tonguing neat but defined. Tongue with a d sound.
If the dotted rhythm in bar 1 is causing problems, practise clapping it and
counting aloud. When correct, do the same in bar 5 to make the connection
between the two bars. Look for other dotted rhythms, for instance bar 9. Clap and
count aloud bar 9, then bar 10 separately, then join both together and loop them.
When confident with the clapping, play on the clarinet, but ensure you count in
your head while playing.
Where practical, always try to use fingerings which produce the best
quality tone. Consider which is the best fingering for all As and Bbs in
the piece. The fingering to the right can be used for A or Bb (with
register key added), though in the case of the Bb, you could use the
side key fingering. Try adding the side key to the fingering on the right
for the best possible sounding Bb2 fingering.
In bars 8/9, practise the C to Bb interval, then C to Bb to C. Ignore the
written rhythm initially to get the sequence of notes comfortable.

126
 Try to produce the best tone quality you can in this piece and listen carefully to
the piano while you play so that you achieve an appropriate balance between
both instruments. This should sound serious and "important" throughout.
Breathe deeply to help achieve a wide dynamic range.
Clarinet in Bb
Important Occasion Brad Millard
A

Majestically q = 88



mp (1)

(2)

8 B



p

C A tempo
(3)

15

rit.


f
mf
21




mp f

Copyright 2007

127
 Try to produce the best tone quality you can in this piece and listen carefully to
the piano while you play so that you achieve an appropriate balance between
both instruments. This should sound serious and "important" throughout.
Breathe deeply to help achieve a wide dynamic range.

Important Occasion Brad Millard

A



Majestically q = 88






Clarinet in Bb

Clar part written
major 2nd higher mp

A


Majestically q = 88





Piano mp

8
B

Cl.

p

B




p

Pno.

C A tempo

15



rit.

Cl.

f
mf

C

A tempo

mf
f
Pno. rit.

21


Cl.

mp

f

mp f

Pno.



Copyright 2007
128
 Aunty Hilda
(Rehearse thoroughly with your accompanist and listen to each other when playing)
Style Guide (Style Overview)
Aunty Hilda is in a boogie woogie feel. Some play boogie with straight quavers;
some swing quavers. I recommend Aunty Hilda be played with straight quavers. The
whole thing is meant to be fun and a little tongue-in-cheek. Keep all crotchets full
length unless otherwise stated (opposite to swing). Also, play all staccatos very short
and crisp. This needs a strong sense of time keep strictly to the beat at the tempo
taken.
Style Guide (Style Specifics) - refer to the music to locate each of the following
1. Letter A (articulatory lyrics)
In the following, either the first or second line of articulatory lyrics would sound
good. The only difference is that in the second line, the Bb has been slightly
clipped. If you prefer that version, play it that way.

2. Bar 11 (fingering)
Use the side key fingering for Bb.

3. Bar 25 (style)
Observe the accents, most of which are ON the beat, a feature of the boogie style.

4. Bar 27 upbeat (articulation)

Accent the upbeat, then play very short on the staccato notes. Really stress the
dut lyric.

5. Bar 30 (phrasing)
Attack the start of the Ab, then drop in dynamic to almost nothing and
immediately crescendo as much as you can towards the final two notes. Count
carefully though.
Practice Strategies
Practise clapping the rhythm and counting aloud. Then practise clapping the beat
and saying/singing the notes with the correct articulation and phrasing.
Breathe deeply each time you take a breath to help produce an authoritative tone.
Try practising at As a practice strategy here, observe the articulation in
a general sense tongue and slur the notes as written, but dont worry about being
too strict with style initially. Play in time, connect the notes as required and use
the best fingerings you can.
After the above, practise separate figures (such as no. 1 above) with the right style.
practise bars 27 and 28 in a loop to achieve the precision in staccato.
practise the fp crescendo in the second last bar on its own.

129
 Aunty Hilda loves special occasions like weddings, because she LOVES to dance.
Poor Uncle George prefers to sit quietly, but Aunty Hilda often drags
him up on the dance floor. Shake it Aunty Hilda!
Clarinet in Bb
Aunty Hilda

Boogie woogie q = 120 A Brad Millard



mf
(1)
(2)



11

15


piu f

19 B

(3) (4)


24

28
(5)




fp f

Copyright 2007

130
 Aunty Hilda loves special occasions like weddings, because she LOVES to dance.
Poor Uncle George prefers to sit quietly, but Aunty Hilda often drags
him up on the dance floor. Shake it Aunty Hilda!

Aunty Hilda Brad Millard

Boogie woogie q = 120

Clarinet in Bb


Clar part written
Boogie woogie q = 120

major 2nd higher

Piano mf


Use sustain pedal sparingly or not at all
(throughout)
A
5

Cl.

mf

A





Pno.


mf sim.



p cresc.

Cl.

Pno.

13

Cl.

Pno.

B

17

Cl.

piu f
B







piu f

Pno.


Copyright 2007 sim.
131


21

Cl.

sim.


Pno.

25

Cl.






Pno.



28

Cl.

fp f

Pno.

132
 Strange Goings On
(Rehearse thoroughly with your accompanist and listen to each other when playing
Style Guide (Style Overview)
To capture the mood intended, play Strange Goings On in as spooky a way as you
can. This opens with microtonal trills, which are so called because they span less
than the interval of a semitone. Note: these are sometimes called timbral trills - trills
which change the timbre or colour of the sound. A wide dynamic range is needed
here. Project a full sound when playing mf or above.
Style Guide (Style Specifics) - refer to the music to locate each of the following:
1. Bar 1 (extended technique microtonal or timbral tremolo)
Play the microtonal trills as fast as possible and crescendo, to simulate the spooky
sound of a theremin, but observe the duration of each note. Fingerings can be
found at the end of the piece.

2. Bar 12 (breath preparation and tone projection)

Take a deep breath on beat 2 and project your sound strongly. Slightly accent beat
1 of each bar if you like.

3. Letter C (articulation)
Play the staccatos somewhat heavily and not too short. (dah-ah-dart-dart-dart-dart
etc) The pitches represent the sound of the whole tone scale.

4. Bar 78 (tone projection and wide interval)

Play strongly and give each note an air accent (dont tongue). Practise pitching
each note to control the wide interval. Sustain the G# with a strong sound until
Letter F.

5. Upbeat to Letter G (musical expression)

Breathe deeply to help control the sound and to connect the notes well. Try to play
this eerily. Think of an eerie sound with your voice and this will translate to the
clarinet.
Practice Strategies
Play with a wide dynamic range throughout. Breathe deeply to help achieve this.
Practise the microtonal trills as semiquavers or even quavers initially, then
gradually speed up to become fast trills. Practise the trills at the opening, then go
straight to bar 99.
At Letter C, try practising the notes all slurred to get fingers coordinated, then
add the tongue.
Isolate and slow down some of the trickier, wider or unexpected intervals. For
instance at bar 78.
Keep the embouchure firm but relaxed enough to allow the reed to vibrate freely
and achieve a big sound.

133
 People are afraid to go near the old house on the corner because it's suspected of being haunted.
Curtains move and lights switch on and off, but no-one has ever been seen entering or leaving.
Refer to the text box at the end for microtonal tremolo fingerings.
Clarinet in Bb
Strange Goings On Brad Millard

Slowly and steadily q = 108
* * * *




p p
(1)

9 A (2)


mf

mp cresc.

19


f

27 B


p
mf

34

pp p cresc.
mf
43 C (3)


mf

48

52 D

f

Copyright 2007

134
 Clarinet in Bb

62



f

(4)
70

E


f

ff

78

83

F G

mp (5)

* * *


95

* * * *

102 *

p pp

* Microtonal (timbral) tremolos. (simulating sound of a theremin)

Recommended fingerings:
E, F (E#) and D# - 1st side key in the right hand (NB front D# key
is required to finger the note D# so the RH side key can be used).

F# - the outside of the right hand ring mechanism

G - 1st two side keys in right hand

135
 People are afraid to go near the old house on the corner because it's suspected of being haunted.
Curtains move and lights switch on and off, but no-one has ever been seen entering or leaving.
Refer to the text box at the end for microtonal tremolo fingerings.

Strange Goings On Brad Millard

Slowly and steadily q = 108

* * * *




Clarinet in Bb

Clar part written
major 2nd higher p p
* Microtonal (timbral) trills. Fingerings on clar part

Slowly and steadily q = 108

Piano



f

9 A

Cl.

mf
A

mp cresc.

mf mp cresc.

Pno.

18



Cl.
f

Pno. f

B

26

Cl.

p


mf

B




mf p

Pno.


Copyright 2007
136
 34

Cl.

pp p

cresc.

mf

pp p mf


Pno.

C


42

Cl.

mf

C


Pno.




mf






D

49

Cl.
f

D








Pno.
f

56



Cl.
f

f
Pno.
mp



E

65

Cl.
f

E









Pno. f

137
 73

Cl.

ff

Pno. ff




82 F

Cl.

F

mp

pp subito

Pno.










91 G

Cl.

G









Pno. mp mf









99
* * * * *

Cl.

Pno.

104 * * *

Cl.

p pp

p

Pno. pp





138
 WORKS CITED

Australian Government Culture and Recreation Portal. 2007. Australian jazz -

mainstream. http://www.cultureandrecreation.gov.au/articles/music/jazz/mainstream/
(accessed 24 April, 2007).

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