Eastern Michigan University

Department of Music & Dance

MUSC 281
Basic Woodwinds:
Clarinet
COURSEPACK

Fall, 2010
Room 105
Alexander Music
Building
Tuesday/Thursday
8:00 am
 TONE
And
SOUND
QUALITY
 SOUNDS GOOD!!!
Fundamentals of Tone Production
Eastern Michigan University
Dr. Kimberly Cole Luevano

I. BREATHING/BREATH SUPPORT: The foundation of solid sound!

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

1. Formation: Once formed, the embouchure SHOULD NOT MOVE!!!

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

2
 pause, then repeat. If embouchure pressure and air speed are correct, mouthpiece and
barrel combination should sound a concert F#.
d. Add the rest of the clarinet now and ““sprint”” on various notes. Best to start on ““E”” (LH
thumb and first finger). A note of low resistance: not so much back pressure on
embouchure.
5. Common problems associated with embouchure:
a. ““Biting”” or ““pinching””: excess jaw pressure to control sound and reed. Results in a
small, thin, bright, tense, and/or forced sound. Usually pitch is sharp.
b. Bunched chin: often occurs with biting/pinching. Muscles not developed, too much
upward pressure into reed.
c. Incorrect amount of mouthpiece in mouth.
d. No use of corners and/or corners pulled back.
e. Bottom lip too loose: sound is spread, high register difficult to play, pitch often flat, no
control

III. ROLE MODELS

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

IV. CONCEPT OF SOUND: And speaking of concept of sound, how do you get a concept? For
starters, consider the words given us on the adjudication form for MSBOA Solo and Ensemble.

Beauty: What is the quality of your tone? Is it pleasant to listen to? Is it matched and even in quality in
all registers? Is it even and match in quality at all dynamics? Is it focused? Is it covered, warm, and dark?
Is it full? Is it centered even in soft dynamics? Are you getting all the fuzz out of your sound?
Control: Just as it sounds: are you controlling your tone, or do you tend to overblow in loud dynamic
passages? Do you have a good balance between the velocity (speed) and amount of the air you are putting
through your instrument? Are you supporting?

There’’s a book called The Art of Clarinet Playing written by Keith Stein who was the Professor of Clarinet
at Michigan State for many, many years. He lists many words to help students understand how to describe
their tone. I will list them here, since I think it’’s a great way to check what you’’re doing.

Shape Depth Cover

Body Glow Resonance
Edge Richness Brilliance
Intensity Mellowness Cushion

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

3
Think of how you want to be able to describe your sound, then go for it! It’’s a good idea to use a tape
recorder/mini disc/recording device to ensure you’’re actually sounding the way you THINK you are.
Another good exercise is to try to match the BEST sounding note on your instrument (usually a clarion
““F””) IN EVERY RANGE AND AT EVERY DYNAMIC LEVEL. Aim for homogenous and uniform
sound at all times.

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

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

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

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

5
Not Enough Mouthpiece Inside the Mouth
If the soundon the barrel and mouthpiece is unfocused
and below F#, take in more mouthpiece until the pitch
comes up. Too little mouthpiece inside the mouth can
also produce sharp pitch among more advanced players.
Too much mouthpiece inside the mouth will cause
squeaking.
Top Teeth are not Gripping the
Mouthpiece Firmly Enough
This is common among beginners and
younger players. The clarinet embouchure is
firm and the student must learn to not let the
mouthpiece move around inside the mouth.

Tongue position is
too low
The tongue should be high
(HEE) and forward inside
the mouth. Corners are Too Relaxed
The comers play a vital role in a correct
embouchure. Tell the student to bring
Bottom Lip is Too Loose corners down and in, again much like the
'straw' analogy or as in saying 'ooh.,
Tell the student to firm the bottom lip. Avoid Relaxed corners contribute to spread tone in
saying "make your chin flat" as this may the middle resister.
encourage a 'smiley-face' embouchure which
can lead to a thin, sharp sound. Use the
analogy of drinking a milkshake through a
straw or putting on chap stick.

Fast Air
. Not Enough Air Students with air support problems are often
using slow air instead of fast air. The result
Air is'always an issue. Let students practice
may be a"fuz4" sound due to lack of air speed
everything at forte for one week. Tell them to
and a relaxed diaphragm. The clarinet gets its
blow until they feel resistance from the instrument.
best sound with quickly moving air.
Students may be surprised to find that they have
never felt 'baek,pressure' from the clarinet, a_
necessary bi-product of sufficient air.

Improperly Shaped Air Stream

A slow, weak air stream does not have the same
shape as a fast air stream. Use the analogy of a
garden hose. Describe the shape and speed ofa
'jet' setting on a hose nozzle.
 SPOTLIG|{T ONWOODWINDS / LES BOIS DE PLUS PRES

[lorinel Secrets

Michdle Gingros

he following excerpts from Michdle Gingras'new book, Clarinet

Secrets - 52 Petformance Strategies for the Advanced Clarinetist
(with a CD) are reprinted here by kind permission of Scarecrow
Press in Toronto.

On Intonation: Secref 13 - The Chin Exercise

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

Try this exercise: while keeprng yow jaw firmiy closed,

the chrn muscles up and down. The upward motion is naturally easier
tr"y moving
A
tt\
Concentrate on stretching the chin's skin and muscles as much
without movtng the closed jaw
of the chin muscles is easily achieved.
as
This exercise should be done until control
possible
tl A

A
4=,-
{.-}

,n> rg2
/l
+ +
(-,
(t
+/
IJ
v
Figure 3: Proper (A) and improper (B) placement of the lower lip
against the reed.

A good and effective clarinet embouchure permits control of the most

^ subtle colour changes in the sound. A correct distribution of lip, jaw,
Figure 1. Moving the chin muscles up and Q,gwn. and chin tightness (50% upward, 50% downward) is shown in Figwe 4
.

6elow).
The reason for shetching the chin muscles is that the reed needs to vibrate

rl\/\
against a firm surface, i.e., the iower lip and teeth, so its vibrations will not
be hindered or exaggerated. A soft chin embouchure allows the lower hp
/ \ { ., \
to become too loose and makes the reed vibrate uncontrollably, resulting
in a flat and colourless tone. The chin might also be touching the reed, l_*u*_\
tr
therefore dampemng the sound. The upper teeth should rest near the tip
of the mouthoiece.
'1 I
\
^\ -'
\- ?k
[5d% ,l

Y/ / /t
, \
150./\

Figure 4: Correct distribution of lip, jaw, and chin tightness.

Figure 2: Left: The chin is stretched (correct). Right: The chin is
relaxed (incorrect).
Figure 3, Example A ftelow) illusn'ates a proper angie. The lower Iip
shouid lie near where the curve between the mouthpiece and the reed
starts. This avoids squeezing the reed against the mouthpiece, causilg
the sound to choke (examFle B). A helpfirl hint is to gent$ push the right
thumb (under the thumb rest) toward the upper teeth in order to avoid the
As the lips follow the contour of the mouthpiece to prevent air leaks
and to equalize the embouchure, the chin is stoetched downward. Note
the opposition ofpressure at the * sign; the resulting tersion rs the key
to a resonating tone. The goal is to find an ideal middle ground where
the chin's tension is divided equal1y. Diligent practice should detennine
the best diskibution ofpressure on the reed for each individuai. Biting
too much narrows the tone and gives it abwzy qualify, while relaxing
too much takes the centre of the tone away and adds an aii noise to the
sound.

Venls conodiens . C0n0di0n Winds . Fol/ouiomne 2005 H,$

 Register Shifts

Register Shifts Example Two

Register Shift Exercises

Keep tempo slow - Quarter Note = 60.

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

o A'squeaking'higb D is
INTONATION
 THE QUEST TO PLAY IN TUNE
Dr. Kimberly Cole Luevano
Eastern Michigan University

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

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

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

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

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

1. Get an electronic tuner to help you in your quest. The best are those that have a needle/digital
display AND sound output. Unfortunately the best ones are also the most expensive. It’’s always
better to have SOMETHING than nothing, however. You can start with a more inexpensive tuner and
upgrade whenever possible.
 THE QUEST TO PLAY IN TUNE
Dr. Kimberly Cole Luevano
Eastern Michigan University
2. Unfortunately, because of the shape of the bore of the clarinet and the placement of the register key,
the clarinet is inherently out of tune…….which is to say that the different registers have their own
particular intonation tendencies. The first step to correcting these natural tendencies of your
instrument is to know what they are! I recommend making a chart of each note of the clarinet.
Next, using an electronic tuner, play each note at a medium dynamic level and with a nice, focused
sound. Note what the tendency of the note is WITHOUT making any adjustments. You want to learn
the honest placement of each note on your instrument. REMEMBER THAT EACH INSTRUMENT,
MOUTHPIECE, and PERSON are different. While there are some general tendencies of the
instrument, you’’ll need to determine the pitch of your own instrument rather than relying on anyone
else’’s finding.

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

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

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

1. Barrel? If you are playing with good, focused sound, and trying to blend and are still are constantly
and consistently flat or sharp in all registers, you might want to consider a different length of
BARREL. Typically, the barrel for a Bb clarinet is 66 millimeters in length and 65 millimeters in
length for an A clarinet. So, on a Bb clarinet, you may need to use a 67 millimeter barrel if you are
always sharp, or a 65 millimeter barrel if you are consistently flat. On an A clarinet, you may need a
66 millimeter barrel if you are consistently sharp and a 64 millimeter barrel if you are consistently flat.
2. Temperature affects pitch! When a clarinet is cold, its pitch is always LOWER than normal. When
a clarinet is warming up, its pitch will rise. Although you might think you are in tune at the beginning
of a rehearsal or concert, your pitch will go up if you are playing constantly or if there are bright, hot
lights. You will need to keep listening and adjusting to maintain the same initial pitch level. Similarly,
if you are in tune at the beginning of a rehearsal and don’’t play much, your pitch may likely be lower
than the initial pitch center.
3. Dynamics affect pitch! Assuming that you are playing with solid embouchure and correct oral cavity
shape, your pitch will DROP when you play louder and will GO UP when you play softly. These
tendencies can be corrected by proper breath support and SLIGHT adjustment in embouchure pressure
and/or firmness. You can also add/subtract fingers or use alternate fingerings to help. (more on this
below.) If you have a section in a composition that is really soft (in contrast to a really loud section), it
is fine to pull out your instrument at the appropriate joint to accommodate. Just remember to push
back in when you play at louder dynamics again.
4. Nerves affect pitch! Consider what can happen when you get nervous. You may forget to take
breaths which means your support won’’t be as solid. You may pinch a bit harder or ““bite”” with your
embouchure…….Biting will raise the pitch and restrict your tone quality! You may tense up in your
shoulders and abdomen, again prohibiting a deep breath and corresponding breath support. You may
tense up your throat which also affects pitch. The obvious solution to this is: learn to control your
nerves. Remember to breathe deeply! Don’’t worry about mistakes, just worry about conveying the
spirit of the music you want to convey.
 THE QUEST TO PLAY IN TUNE
Dr. Kimberly Cole Luevano
Eastern Michigan University
5. The adjustment of your clarinet can affect pitch. Do some notes stick out because they are always
““out”” in relationship to others close by? It could be that the height of the key opening isn’’t quite right.
Usually, if a key or pad cup doesn’’t quite open enough, a note will be slightly low (often the tone is
also stuffy.) Similarly, if a key or pad cup is opening too far, the note may be slightly high. In these
cases, it’’s best to seek the advice of a professional repairman to verify that this is actually the problem
and to have the problem fixed.
6. Tuning rings! Do you find that you are almost always pulling out the same amount from either your
middle joint or barrel joint? Consider getting tuning rings. Tuning rings are thin rings that you insert
into the tenon to fill the gap left by pulling out. By using them, you don’’t have to worry about finding
the placement each time——it will be uniform! Also, tuning rings help ensure more uniform pitch since
they fill in the gaps left when you pull out.

We’’ve discussed MANY issues with playing in tune. Won’’t considering all this ensure I’’m playing in
tune? NO! All these above issues are merely helpful hints…… Remember that I said earlier that just
because you can put every note at ““O”” on the tuner doesn’’t mean you play in tune?

That’’s because playing in tune has to do even more with LISTENING and training your ears to fit
with what’’s going on simultaneously. In general, you will have to slightly adjust every note to make
it sound in tune with whatever chord you’’re playing or whichever people you’’re playing with. Here
are some guidelines and helpful hints for LISTENING.

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

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

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

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

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

6. Know where to place your note in relationship to the key signature in which you play and in
relationship to the main note of that key signature. Each note in an interval has a place where it will
SOUND in tune with the chord or interval, and such a place isn’’t necessarily at ““O””. The following is
a general guideline to help you ““place”” the notes so they SOUND in tune:

Interval of a minor 2nd : raise significantly.

Interval of a Major 2nd (2nd note of the scale, for instance): raise slightly.
Interval of a minor 3rd (3rd note of a minor scale): raise significantly.
Interval of a Major 3rd (yes, the 3rd note of a MAJOR scale): lower significantly.
Interval of a Perfect 4th (4th note of either scale): lower slightly.
Interval of a tritone: lower.
Interval of a Perfect 5th (5th note of either scale): raise slightly.
 THE QUEST TO PLAY IN TUNE
Dr. Kimberly Cole Luevano
Eastern Michigan University
Interval of a minor 6th (6th note of descending melodic minor or a natural minor scale): raise
significantly.
Interval of a Major 6th (6th note of a major scale or ascending melodic minor scale): lower
significantly.
Interval of a minor 7th (7th note of a natural minor scale or descending melodic minor): raise
significantly.
Interval of a Major 7th (7th note of a major scale or ascending melodic minor): lower significantly.

A good exercise is to play with a tuner with an OUTPUT feature…….one that will play pitches. Set the tuner
output on the first note of a scale then play the given scale SLOWLY (in slow whole notes.) Listen for
““beats””…….waivers in sound that occur when you are not placing your intervals exactly. Try to eliminate
the beats and waivering by slight adjustments to your embouchure or by adding/subtracting fingers.

Which fingers can I add or subtract to help?

To raise pitch, you’’ll need to OPEN a tone hole. Consider:

a. the right hand pinkie Ab/Eb key.
b. the left hand pinkie c#/g# key.
c. the right hand side keys, usually the bottom 2 side keys.
d. The right hand sliver (fork) key.
e. The left hand sliver (fork) key.

To lower pitch, you’’ll need to CLOSE a tone hole. Consider:

a. The right or left hand pinkie E/B key.
b. The right or left hand pinkie F/C key.
c. The right or left hand pinkie F#/C# key.

For throat tones, consider adding some (or all in some cases!) of the fingers down in your right hand. This
will also assist in going over the break.

For notes that use only fingers in your left hand, you can (and most often should!) keep your right hand
close to the tone holes to cover them a bit.

““Playing in tune”” and developing your listening skills are LIFELONG quests. Hopefully these tips can
help you begin your quest and answer some of your initial questions.
ALTISSIMO
 A Brief Introduction to the Altissimo Register
Dr. Kimberly Cole Luevano
Eastern Michigan University

A. GENERAL REMINDERS: If embouchure is correct, only faster or more focused air

is needed to play altissimo notes, not any firmer embouchure.

1. Embouchure does need to be firm, though NO BITING/PINCHING.

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

B. COMMON PROBLEMS:
1. Not fast enough air stream. Results in:
a. subtones.
b. pinching reed
2. Not focused enough air stream. Results in:
a. subtones.
b. pitch problems.
3. Lower lip ““mushy””.
a. no altissimo register: subtones.
b. pitch flat.
4. Biting: too much upward lower lip pressure.
a. pitch sharp.
b. overblows altissimo notes.
c.
C. FINGERINGS:
1. Many fingerings are available for altissimo notes.
2. Listed below are some of the most common choices.
3. Choice of fingering depends of notes preceding or following the altissimo note as well as
intonation and dynamic level required.
4. For other fingerings, several books are available including:
a. Ridenour, Thomas. Clarinet Fingering: A Comprehensive Guide for the Performer
and Educator. Kenosha, Wisconsin: Leblanc, 1990.
b. Drushler, Paul. The Altissimo Register: A Partial Approach. Rochester, NY: Shall-u-
mo Publications, 1978.
c. Rehfeldt, Phillip. New Directions for Clarinet. Berkeley: University of California Press,
1978.
ARTICULATION
 ARTICULATION FUNDAMENTALS
Dr. Kimberly Cole Luevano
Eastern Michigan University
Good tonguing is dependent upon steady, solid air support/stream and a stable
embouchure. The tongue only stops the reed from vibrating: it doesn’’t ATTACK the
reed.
A. Tip of the tongue to the tip (more or less) of the reed.
1.No anchor tonguing.
2.To ““find”” tip of the tongue:
a. Scratch tip of tongue with fingernail.
b. Rub tongue along inside bottom teeth.
c. Place tip of tongue to tip of reed OUTSIDE mouth.
d. Bring mouthpiece into mouth keeping tongue in place on reed.
e. Form embouchure.
f. Take a breath and build support and pressure BEHIND the reed.
g. Release reed.
B. Only the front of the tongue moves.
1. Tongue should stay front/forward and close to the reed.
2. Back of tongue should be slightly arched inside mouth AT ALL TIMES for optimal
positioning: ““hee””. If not, altissimo notes will NOT LIKELY speak.
C. TONGUE PRESSURE SHOULD BE NO MORE THAN IS NECESSARY TO
STOP THE REED FROM VIBRATING.
1. The RELEASE of the tongue actually creates the articulation, not the movement of the tongue
to the reed.
2. Encourage legato articulation for relaxed, close tongue stroke.
3. Staccato style evolves out of good legato style!
D. NO EXCESS MOVEMENT!
1. No bottom lip/embouchure movement.
2. No throat movement. Indicates tongue is moving to the reed from too far away in the mouth
OR tongue is in incorrect position.
3. No jaw movement.
E. COMMON PROBLEMS:
1. Harsh tongue: TONGUE IS WORKING MUCH TOO HARD!
a. ““Attacks”” reed instead of brushing reed. Have students imagine their tongue is a
feather or a small paintbrush that barely touches the reed. OR have students actually
speak the articulation. They will easily ““hear”” that there is tension in their tongue.
b. Tongue is likely moving too much:
c. There should be NO visible throat motion during articulation.
2. Sluggish tongue: Incorrect part of tongue to incorrect part of reed:
a. If this is the case, the sound quality will change during articulated passages or there
will be MUCH excess motion.
b. If incorrect tongue placement, embouchure will look good, but tone will be poor.
c. Flat tongue: Will cause spread, poor tone, difficulty in high register, and/or heavy
tongue.
3. Poor legato: Not enough support and/or air to help the tongue or supporting the notes only
rather than the line. Also, tongue could be too heavy and not relaxed enough.
4. Lack of coordination between tongue and fingers. Contrary to many students’’ belief, lazy,
uncontrolled, or uneven fingers are the culprit in articulated passages, not the tongue. Make
sure students have the technique mastered first (slow to fast approach!) and that the passage is
clean and even when SLURRED! Then have students consider moving fingers SLIGHTLY
ahead of tongue, crisply and evenly.
5. Lack of proper support/support of individual notes rather than the entire line. Make sure
students don’’t stop the air for each individual note to create articulation. Instead, the air
stream should stay steady, and the articulation occurs ““on top of”” the airstream.
 11

Heavy, Harsh Articulation

A bad articulated sound is generally caused by
excessive motion of the tongue. Most students try
too hard and move the tongue too much.
Use Option One to re-introduce a more gentle
motion of tongue to reed surface.
o Breath start each whole note with the svllable
'Hee'.
. Lightly touch the lip of your tongue to the lqp
of the reed - 'tee' syllable. Keep your tongue
high and forward inside the mouth.
o Altemate speaking the exercise with playing
the exercise. Pay close attention to how the
exercise sounds when spoken. Is the air
support strong and sufficient?
Paula Corley is a career music educator with 19 years of
teaching experience in the Texas public school system where
she tauglrt begrnning clarinet classes and developed her
beginning clarinet method entitled "So You Want To Play
The Clarinet."
Scooped or Spread Sound on
Articulated Notes
A scooped or spread sound on articuiated notes is
often caused by Embouchure Movement. Use
Option Three to address this problem. Start the
exercise at the absolute fastest speed that the
student can go. It is very difficult to move the
embouchure at fast speeds. Over time, work
backwards to slower speeds until movement
stops.
Inabilify to Articulate Clearly
The inability to articulate clearly may be caused from
tonguing the bottom lip, the roof of the mouth, or
tonguing only one side of the reed. The tip of the
tongue (to the top ofthe reed) takes care of
articulation. Use Option One or Option Two to
re-introduce tongue to reed surface.
The tongue motion is the same for staccato as legato.

Paula has been a featured ciinician for the Texas, Arkansas, and North Carolina Music Edgcators Associations as well as for the
Texas Bandmasters and for The University of North Texas. In June, 2005 she will make her second appearance at the University
of Oklahoma Clarinet Symposium and her sixth at Indiana University's Clarinet Teaching Workshop witl internationaily
recognized teacher and performer, Howard Klug.

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

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

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

Please send questions and clinic requests to: paulaclar@hotmail.com

10

Articulation: Exercises to Correct and Improve Tonguing

Daily tonguing practice is essential for dweloping the ability to articulate.

stsrt on the barrel and moutbpiece (F#) wuen ciagnosing tonguing problems.
Errors are more apparent when yariables are reduced,
The focused sound should not disappear when tonguing.

Option One is a good way to introduce tonguing to beginners:

OPTTON ONE

HEE.....tee tee tee

Breath Start each r'o"r'*tilr" to establish a good sound first.
White sustaining the whole note, the tip of the tongue touches the top of the reed to interrupt the whole
note.
Tongue should use minimal efforl
Tongue high and forward in thO mouth - close to the reed

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

OPTION TWO

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

OPTION THREE

Shorter Bursts of "5r' note will alss work well. Longer burstr hetp to develop enduranee.
AIso See articulated patterns under Non Tonic-to-Tonic Scale pattirn examples"
TECHNICAL FACILITY
AND
DEXTERITY
AND
TECHNICAL
EXERCISES
 An Introduction to Technical Facility
Dr. Kimberly Cole Luevano
Eastern Michigan University
Emphasize and reinforce CORRECT position and action from DAY ONE. While it may
seem tedious, it will prevent many problems from developing.

A. GENERAL ARM/HAND POSITION

1. Shoulders relaxed. Release all tension. (shoulder tension usually causes arm/hand/finger
tension.)
2. Arms relaxed and naturally close to body.
3. Elbows close to body. Try to pick up from elbow only as much as possible.
4. Wrists in and down, not arched or tense.
5. Hands as close to their ““natural”” position as possible. Drop hands to side and pull them up to
see this. Let them tilt upwards slightly.
6. Knuckles out. Prominent but not tight.
7. Fingers: Easy ““3-way arch.””
a. No collapsed joints, no bear claws, no flat fingers.
b. Pads/fleshy part of fingers cover holes, not tips. NO GRIPPING!!!
8. Palms: Relaxed, not tense or gripping.
9.
B. RIGHT HAND POSITION
1. Thumb: ““double grip”” on bone and side of fingernail.
a. Use 1st joint bone to help place.
b. Tends to end up at an angle to your clarinet, not perpendicular.
2. Index finger: at 45 degree angle to the Eb/Bb key.
a. NOT HOOKED UNDERNEATH SIDE KEYS!!!!!!!
b. Should hit that key just above 2nd joint and to the side of the finger.
c. Motion from low Bb to RH side key Eb is a straightening out motion of the first two
joints of the index finger, not a shift of the wrist.
3. Wrist rotates in and down which creates:
4. ““Rectangle”” or ““U”” shape created between the thumb and index finger, not a backwards
““C.””
5. Knuckles out but not tight. Should detect a ““line”” slanting downward.
6. Rest of fingers fall curved. Use ring finger as guide. They should look ““natural””.
7. Pinky finger uses F#/C# or F/C key as a home key. Stays curved. Points downward.
a) Let it move with the ring finger.
8. ““Line”” through knuckles goes below, not through or over the clarinet.
9. Hand tilts upwards toward the Eb/Bb side key.

C. LEFT HAND POSITION

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

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

E. DEVELOPING TECHNIQUE:
1. Consider the elements that must be developed:
a. knowledge of patterns
i. Scales/arpeggios in a multitude of forms/patterns.
ii. SLOW to FAST approach.
b. finger action and height
i. Use mirror to help
ii. SLOW to FAST approach.
2. Speed comes gradually by working on precision and relaxation:
““By developing precision, one develops technique, but by developing technique, one does not
necessarily develop precision.””
Although clarinet playing may not
necessarily always involve natural
body movements, it is important to
study and analyse natural hand
motions to adapt them to the
instrument. A relaxed and natural
approach will reduce the tendency to
A,A
/
47{
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tighten the hand and arm muscles While practising slow scales in front of the mirror, move each
finger from the first joint (at the base of the hand) and
during rapid technical passages. .imaoine
_o..._ thet rhe rest of the ... o-. is some\..zhal
._ finqer .__ a_steep or
extremely relaxed. In thrs way the flrst finger joint will guide
lf one holds out a
the rest of the finger and the natural werght of each {inger will
relaxed hand and
be used to cover holes or close keys. This technique will
bends the wrist as
help avoid excess pressure on tone holes and keys,
illr rctr:tcd rioht it ic

easy to see now tne Continue the exercise by playing increasingly faster scales (stiil
fingers naturally curve in front of the mirror), and vary technical pafterns (such as
and become rounded. thirds or octaves) by lifting fwo, three, or more {ingers
simultaneously,
After pradising the
three hand motions Try playing various trills to test how relaxed each finger is
on both hands several while moving rapidly Remember to relax the arms and
times, hold the clarinet shoulders as well as the fingers,
while "nainta ning the flnal. curved hand post:or- (diagram 3) The light feeling you will experience afler a few days of
practice will grve you the impressron that each finger gently
Similarly, each individual finger naturally curves and should gets detached from the hand while playing, especialiy during
move accordingly on the clarinet keys. trills,

Practise slow scales in front of the mirror, making sure the

fingers do not becone stiff. extended. or slraigl-lered, At
times, this may feel as though the hands and fingers are going
through complete retraining, The initial discomfort might
cause you to taKe a 'short cut' and rerurn to you' previous
hand and finger positions; however, slow and patient work
wrll y eld a much more flu d technicue and perhaps Drevert
future injury,
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Compiled by NII-O F{OVEY, Educationai Director,
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 MrcrtIGAI\t scHool, BAIYD and ORCITESTRA AssocIATIoN
SOLO and ENSEMBLE pROFICmNCy SCALES
WIND gnd MELODY PERCUSSION INSTRITMENTS
Required Scale Rhythm:

Chromatic: Even Rhvthm

Tefnpp: maximum crintrolled soeed
_

Articulauon: All sluned or all tongued (adjudicato/s choice)

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

SCALES
tl ill
Piccolo Bb2, Eb2, F2. C1 Abz,G2,D2 M,E2,82, Gb2
92, c1, d2, a2,Eb chr.2 f2, bb2, e2, b2, G chr. 2 t#2,9#2, eb2, C $r2
Flute Bb2,Ebz,F2,C2 Ab2, Db2, c2, D2 I.2, e2,82, cb2
92, c2, d2, a2,Eb chr.2 f2, bbz, e2, b2, G chr. 2 l#2, d\ g#2, eb2, C chr. 3

Oboe Bb1, F1, C2, c1 Eb1, Ab1, D2, Al Db2, Gb1, E2, 82
91, d1, a1, e1, C chr. 2 c2,f'l,b2,l#1,D chr 2 bb1, eb2, d2, g#1 , E chr. 2

tso ulannet c2, F3, Bb2, c3

(Eb Soprano)
Eb2, Ab2,D2. M Db2, Gb3, E3, 82
a2, d2, 93, e3, E chr 3 c2,R,b2, f#3, F chr.3, bb2, eb2, *2, g#2, G chr. 3

.Alto and Bass c2,F2,eb?,G2 Ebi,.{b2, D1, 42 Db2, Gb2, E3, 82

(Contra.) Clar a2, d2, 92, e2, E chr. 2 c2,A,b2,t#2,F chr.2 bb2, eb1 , d1 , g#2, G chr 2

Bassoon Bb2,F2,C2,G2 Eb2, Ab2,D2, M Dbz,Gb2,E2,82

92, d2, a2, e2, A chr. 2 c2, f2, b2, t#2. Bb chr.2 bb2, eb2, d\ #\ Bb chr. 3

Saxophone G1, C2, F2,Bb2 D2,41, Eb2, Ab1

(Alto, Tenor, Bari)
E2,82, Db2, F#2
e2, al , d2, gl , C chr. 2 b2, t#1 , c2, Q, Bb chr.2 d2, g#1, bb2, d#2, F chr. 2

uornet c1, F1, Bb2, c2 Eb1, Ab2, Dl, A2

Trumpet
El,82, Gb2, Db2
a2, dl , 92, e1 , G chr. 2 c2,t1,b2,t#2,8b chr.2 d2, g#2, eb1, bb2, C chr.2

French Horn F2, Bb1, Eb1, C1 Abz, Db1, c2, D1 M,E2,82, Gb2
d1, 92, cl, a1, F chr. 2 t2,bbl, b1, e2, G chr.2 t#2, d1, g#2, eb2, C chr. 3
Trombone Bb1, Eb1, Ab2.F2 Db1, Gb2, Cl, c2 D1,M,E2,82
92, cl , t2, dl, F chr. 2 bb2, eb1, e2, a2, Ab chr. 2 b2,t#2, d1, g#2, Bb chr. 2
Baritone Bb1, Eb1, Abz,F2 Db1, Gb2, Cl, c2
Bass Clef
Dl, M,E2,B2
92, c1 , P, d1 , F chr. 2 bb2, eb1, a2, e2, Ab chr. 2 d1 , 9#2, Bb chr. 2
b2, t#2,

Baritone c1, F1, Bb2, c2 Eb1, Ab2, D1, A2 E1,82, cb2, Db2
Treble Clef a2, d1,92, el, G chr. 2 c2, 11 , b2, f#2, Bb chr. Z d2,&2, eb1, bb2, C chr.2

Tuba Bb1, Eb1, Abz,F2 Db1, Gb2, Cl, c2 D1, F.;., E2, 82
92, c1, f2, dl, F chr. 2 bb2, ebl, a2, e2, Ab chr.2 b2, t#2, d1 , g#2, Bb chr. 2
Melody Percussion c2,F2, Bb2, Eb2 Ab2,Dbz,G2,A2 42,E2,B.2,F#2
a2, d2,92, c2, Bb chr. 2 f2,bb2, e2, b2, G chr. 2 t#2, #/
g#2, #\
C chr. 3
Chord pro. C & F l, lV, V. I Chord pro. G & Bb l, IV, V, I

NOTE: Sight Reading contains some altemale clefs.

There are Hom - bass clef, Bassoon - tenor clef, Trombone - altoltenor clef srrdcd lnln1
 REEDS
And
MAINTENANCE
 Selected Sources for Equipment, Accessories, Repair, Music, Etc.

Charles Bay Mouthpieces/barrels/ligatures/accessories

P. O. Box 3935-C
Westlake Village, CA 91359
805.497.8161

William Brannen Repair

908 Hinman
Evanston, IL 60202
847.866.7576

Timothy Clark Repair/instruments

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

Eble Music Co. Music

Box 2570
Iowa City, IA 52244-2570
319.338.0313

Clark Fobes Repair, instruments, barrels, mouthpieces

130 Beverly
San Francisco, CA 94132
415.585.0636

Robert D. Gilbert Instruments and accessories

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

International Musical Suppliers Instruments/Mouthpieces/Barrels/accessories

P. O. Box 357
Mt. Prospect, IL 60056
800.762.1116

Légère Reeds Synthetic Reeds

39 Weatherup
Crescent, Barrie, ONT
CANADA L4N 7J6
705.735.1559
legerereeds@aol.com
Luyben Music Co. Music
4318 Main St.
Kansas City, MO 64111
800.2-LUYBEN (Visa/MC orders only)
816.753.7111
816.753.6879 FAX
order@luybenmusic.com
www.luybenmusic.com

Marks Music Co. Instruments and accessories

50 N. Buhl Farm Rd.
Hermitage, PA 16148
412.347.7629

Muncy Winds Instruments/Mouthpieces/Barrels/accessories

P. O. Box 1274
Boone, NC 28607
800.333.6415
704.963.8990 FAX
muncywinds@aol.com

ProWinds, Inc. Accessories

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

James Pyne Mouthpieces, barrels, ligatures

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

Eric Satterlee Repair/Accessories

Buttonwood
Haslett, MI
517.339.1929
repairband@aol.com

Robert Scott Repair, Barrels, Ligatures

2930 Sunderland Rd.
Lansing, MI 48911
517.882.9098
Stanton’’s Sheet Music Music
330 S. Fourth St.
Columbus, OH 43215
614.224.4257

Frederick Weiner Instruments/Mouthpieces/Barrels/accessories

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

Woodwind/Brasswind Instruments/Mouthpieces/Barrels/accessories
50741 US 31 North
South Bend, IN 46637
800.348.5003

Woodwind Service, Inc. Music

Box 206
Medfield, MA 02052
800.527.6647
 Clarinet Care and Maintenance
Dr. Kimberly Cole Luevano
Eastern Michigan University
GENERALLY:

1. Keep in mind the importance of keeping your mouthpiece and reed in clean and
sanitary condition.
2. Always keep pads and key mechanism dry. Water ruins pads, causes corrosion within
key mechanism, and is detrimental to wood instruments.
3. DO NOT USE FORCE! If force seems necessary, it is an indication that the
instrument is in need of adjustment/repair. Take it to a trained music repairman.
4. Always REMOVE reed from mouthpiece and store separately. Fine to store ligature
on mouthpiece, but ALWAYS store mouthpiece with a mouthpiece cap.

AFTER EACH PLAYING:

1. Remove reed, wipe excess moisture, and store in a manner which will keep the reed
flat and discourage warping.
2. Remove mouthpiece and wipe clean with a clean handkerchief or soft cloth. DO NOT
RUN SWAB THROUGH MOUTHPIECE REGULARLY.
3. Swab the remaining joints (bell, upper and lower joints, barrel) thoroughly.
4. Make sure to clean excess moisture out of tenon joints.
4. Check tone holes for any remaining moisture, and remove moisture accordingly.
5. Wipe fingerprints and moisture off key mechanism and instrument exterior.

EVERY WEEK:
1. Wash mouthpiece in LUKE-WARM (NOT HOT——preferably on the cold side,
actually.) water with a gentle soap such as Ivory soap or Castille soap. Be especially
careful of the mouthpiece tip and rails——do not scratch or nick these areas in particular.
2. Check corks. Lubricate sparingly as soon as they are dry.

EVERY SIX to EIGHT WEEKS:

1. Oil key mechanism wherever one metal part moves against another as on posts, hinges,
etc.
2. Apply key oil sparingly. One drop is more than sufficient!
3. Prevent rusting by touching up all springs and screws that go through the head of a
post (pivot screws) with key oil.
4. Wipe off excess oil carefully. Too much oil collects dust and ruins pads. Keep all
lubricants off the pads.
5. Consider oiling the bore of your clarinet, particularly in dry conditions. Lubricate a
separate swab with a natural oil such as almond oil. Run the oiled swab through the bore
once or twice. Rub slight amounts of oil into the exposed wood on the exterior, taking
care to keep the oil away from pads and key mechanisms.

Daily maintenance will keep your clarinet in good working order for lengthy periods of
time.

Part five
Care and maintenance
habits ore on important
part of music education
by lulie DeRoche
Director of Performance Education
G. Leblanc Corporation
I ulie D eRoche is Leblanc' s newly appointed
director of performance education. Prior to
joining Leblanc, she
sewed for
mc,ny le(trs as
coordinator of the wood-
wind department and
clarinet facuhy at De
P aulU niq., er sity, Chic a go.
She serued as acting sec'
ond clarinet wirh the Chi-
cago Symphony Orchesrra
during the 2000-2001
season and continues kt
| !.€EF;"' perform and tour fre,
quently with the CSO. In addition to her
inuolu ement with numerou s chamb er and
orchestral groups, she now seTves as imme-
diate past president of the International
Clarinet Associntion.
M tion, rather than by turning the lower
I lost of us who teach have opened
our students' clarinet cases to find bro-
ken or moldy reeds, missing screws,
dirty, dusty tone holes or bent keys.
Often, these problems are the very rea-
sons that our students have trouble
learning to perform well.
Clarinets that are not well treated and
well maintained can cause numerous
difficulties, such as lack of response,
squeaking, excessive resistance, poor
key coordination and so forth. There"
fore, learning to care for a clarinet prop-
erly is extremely important, and
teaching students how to care for their
instruments can create lifelong good
habits. Unfortunatelv. this is sometimes
a neglected aspect of instruction.
I still assemble and disassemble my
clarinet just as my elementary-school
band director taught me, and I care for
it in the way that I was taught many
years ago by the greatly respected repair
artists, Bill and Linda Brannen. In this
segment of Clarinet Basics, I will share
"Fffi -rnu t'BLANC BELL wr N'ER 2oo3
this valuable training.
T
I he method of assembling a clarinet
can seem obvious, but in fact, if done
incorrectly, it can be the source of many
problems. Forcing tight tenons together
or holding the clarinet incorrectly dur-
ing assembly can cause bent keys and
stuck joints. There are two important
things to teach young students to keep
in mind while assembling the clarinet.
The first is to place the upper and
lower joints together without bending
the bridge key, and the second is to place
the barrel on in the right direction. I
have seen young students force the
joints of an instrument to do things
that were not intended-and the result
was not good!
When placing the upper and lower
joints together, allow the upper joint of
the clarinet to rest in the palm of the
left hand, with the lower tenon near
the wrist. The front of the clarinet will
be facing up, and the palm of the hand
will be gently cradling the back of the
joint just below the register key. The
fingers will then be able to curve
around the front of the joint and will
press the keys so that the bridge mecha-
nism opens or lifts. This allows the
student to slip the lower-joint bridge
key under the upper-joint bridge key.
Hold the lower joint in the right hand,
toward the lower end of the joint, with-
out excessive force on the keys or rods.
Make sure that all corks are sufficiently
lubricated with cork grease. Twist the
joints together in a back-and-forth mo-
joint in a circular motion. The joints
should slide smoothly together, and the
rings in the front should be in line.
(Instruments with the PRAG system will
simply slide into proper alignment.)
After putting the upper and lower
joints together, twist the bell into place
and then the barrel. The barrel has a
small and large end, and although it is
probably obvious to you, be sure that
your youngest students place the barrel
on in the correct direction, with the
larger side of the barrel fitting onto the
upper joint. (I have witnessed young
players trying to do the opposite with
great effort.) Finally, place the mouth-
piece on the barrel, and then the liga-
ture and reed, in that order.
Remember to keep the tenons well
greased with good, clean cork grease,
but do not allow too much grease to
build up on the cork. Instead, wipe ex-
cess grease off the cork before applying
more so that it does not get sticky. Use
only the amount of cork grease that
you need in order to get a smooth, easy
connection, and do this only when it
becomes difficult to slide the tenons
together.
n
Uisassembly should follow the oppo-
site order. Be sure that your student
continues to hold the clarinet as dur-
ing assembly, described above, raising
the bridge key before twisting the joints
apart. Whether playing a wood clarinet
or a plastic model, it is best to disas-
semble the clarinet as soon as possible
so that the corks do not get pressed
continually, which can cause loose,
wobbly tenons and eventual leaks and
stuffiness.
Swab each joint thoroughly with a
cotton handkerchief swab or silk swab.
The swab should be pulled through the
clarinet from bottom to top-or from
the bell to the barrel-but should not
be pulled through the mouthpiece.
Make sure that all water is thoroughly
removed from the tenons by wiping
these areas with the swab.
Remember to shake out the swab so
that it is as long and flat as possible.
Do not put it through the clarinet when
it is in a knot. If the swab sets stuck in
one of the joints, it is impoitant to take
it to a good repair shop to have it re-
moved. Never poke sharp objects into
the clarinet (screwdrivers, flute rods,
pencils or pens, batons), as they can
scar the tone holes and inner surface
of the instrument.
Dry the mouthpiece by gently wiping
the surface with the swab, but do not
pull the swab through the mouthpiece
frequently, as repeated swabbing can

Part five
Care and maintenance
habits ore on important
part of music education
by lulie DeRoche
Director of Performance Education
G. Leblanc Corporation
I ulie D eRoche is Leblanc' s newly appointed
director of performance education. Prior to
joining Leblanc, she
sewed for
mc,ny le(trs as
coordinator of the wood-
wind department and
clarinet facuhy at De
P aulU niq., er sity, Chic a go.
She serued as acting sec'
ond clarinet wirh the Chi-
cago Symphony Orchesrra
during the 2000-2001
season and continues kt
| !.€EF;"' perform and tour fre,
quently with the CSO. In addition to her
inuolu ement with numerou s chamb er and
orchestral groups, she now seTves as imme-
diate past president of the International
Clarinet Associntion.
M tion, rather than by turning the lower
I lost of us who teach have opened
our students' clarinet cases to find bro-
ken or moldy reeds, missing screws,
dirty, dusty tone holes or bent keys.
Often, these problems are the very rea-
sons that our students have trouble
learning to perform well.
Clarinets that are not well treated and
well maintained can cause numerous
difficulties, such as lack of response,
squeaking, excessive resistance, poor
key coordination and so forth. There"
fore, learning to care for a clarinet prop-
erly is extremely important, and
teaching students how to care for their
instruments can create lifelong good
habits. Unfortunatelv. this is sometimes
a neglected aspect of instruction.
I still assemble and disassemble my
clarinet just as my elementary-school
band director taught me, and I care for
it in the way that I was taught many
years ago by the greatly respected repair
artists, Bill and Linda Brannen. In this
segment of Clarinet Basics, I will share
"Fffi -rnu t'BLANC BELL wr N'ER 2oo3
this valuable training.
T
I he method of assembling a clarinet
can seem obvious, but in fact, if done
incorrectly, it can be the source of many
problems. Forcing tight tenons together
or holding the clarinet incorrectly dur-
ing assembly can cause bent keys and
stuck joints. There are two important
things to teach young students to keep
in mind while assembling the clarinet.
The first is to place the upper and
lower joints together without bending
the bridge key, and the second is to place
the barrel on in the right direction. I
have seen young students force the
joints of an instrument to do things
that were not intended-and the result
was not good!
When placing the upper and lower
joints together, allow the upper joint of
the clarinet to rest in the palm of the
left hand, with the lower tenon near
the wrist. The front of the clarinet will
be facing up, and the palm of the hand
will be gently cradling the back of the
joint just below the register key. The
fingers will then be able to curve
around the front of the joint and will
press the keys so that the bridge mecha-
nism opens or lifts. This allows the
student to slip the lower-joint bridge
key under the upper-joint bridge key.
Hold the lower joint in the right hand,
toward the lower end of the joint, with-
out excessive force on the keys or rods.
Make sure that all corks are sufficiently
lubricated with cork grease. Twist the
joints together in a back-and-forth mo-
joint in a circular motion. The joints
should slide smoothly together, and the
rings in the front should be in line.
(Instruments with the PRAG system will
simply slide into proper alignment.)
After putting the upper and lower
joints together, twist the bell into place
and then the barrel. The barrel has a
small and large end, and although it is
probably obvious to you, be sure that
your youngest students place the barrel
on in the correct direction, with the
larger side of the barrel fitting onto the
upper joint. (I have witnessed young
players trying to do the opposite with
great effort.) Finally, place the mouth-
piece on the barrel, and then the liga-
ture and reed, in that order.
Remember to keep the tenons well
greased with good, clean cork grease,
but do not allow too much grease to
build up on the cork. Instead, wipe ex-
cess grease off the cork before applying
more so that it does not get sticky. Use
only the amount of cork grease that
you need in order to get a smooth, easy
connection, and do this only when it
becomes difficult to slide the tenons
together.
n
Uisassembly should follow the oppo-
site order. Be sure that your student
continues to hold the clarinet as dur-
ing assembly, described above, raising
the bridge key before twisting the joints
apart. Whether playing a wood clarinet
or a plastic model, it is best to disas-
semble the clarinet as soon as possible
so that the corks do not get pressed
continually, which can cause loose,
wobbly tenons and eventual leaks and
stuffiness.
Swab each joint thoroughly with a
cotton handkerchief swab or silk swab.
The swab should be pulled through the
clarinet from bottom to top-or from
the bell to the barrel-but should not
be pulled through the mouthpiece.
Make sure that all water is thoroughly
removed from the tenons by wiping
these areas with the swab.
Remember to shake out the swab so
that it is as long and flat as possible.
Do not put it through the clarinet when
it is in a knot. If the swab sets stuck in
one of the joints, it is impoitant to take
it to a good repair shop to have it re-
moved. Never poke sharp objects into
the clarinet (screwdrivers, flute rods,
pencils or pens, batons), as they can
scar the tone holes and inner surface
of the instrument.
Dry the mouthpiece by gently wiping
the surface with the swab, but do not
pull the swab through the mouthpiece
frequently, as repeated swabbing can
 to dry on the mouthpiece
can warp, which will
make them play badly in
very little time. However,
reeds left floating in the
case will most certainlv
be damaged.
To protect reeds, store
them in a reed guard of
some kind that will keep
the reeds flat. Wet reeds
kept in the paper cases
or boxes in which they
were sold will not stay in
good playing shape, as
they will not be able to
dry in a flat position. A
good reed case will be
made of a hard material
(plastic or with a glass
Aboue: IJ sing a needle oiler, apply a small drop of key oil plate), will protect the tip
where the rods meet the posts. Left:
'With the left hand, of the reed and will keep
depress the upper-joint keys to raise the bridge mechanism. the reed held securely on
a drv. flat surface.
actually change the mouthpiece's deli- The clarinet should be kept free of
cate inner dimensions. Approximately dirt and grime by dusting under the
once a week, run tepid water through keys with a soft brush on a regular ba-
the mouthpiece, protecting the cork as sis. To keep keys moving efficiently and
much as possible. To remove white de- noiselessly, about once a month, apply
posits, soak the tip of the mouthpiece a small drop of specially formulated
in lemon iuice. key oil where the key rods meet the
Remove all water from tone holes by posts. Be sure all dirt is removed be-
using pad paper. (Long ago we used fore applying key oil. Use a needle oiler,
cigarette paper. The same paper is now and take care that no oil comes into
available as pad-drying paper so that contact with the plastic body of student
young students may get it easily from instruments.
music stores.) Drying the clarinet effec- Check to see that the screws are in
tively will keep it clean and will help place and have not twisted themselves
prevent a wood-bodied instrument from out of the post. Lost screws will mean
cracking. Teaching this to students who lost keys. If the screw is too far out,
have plastic clarinets will help ensure tighten it with a small screwdriver un-
that they continue to dry their instru- til itis level with the post, but do not
ments thoroughly when they eventu- overwind the screw, as the key may bind.
ally step up to wood. If in doubt, seek out a qualified repair
person to fix, maintain and adjust screw
M.
l'lake sure that your youngest students tensions.
know how to place the parts of the
instrument back into the case correctly. Wood.n clarinets are sometimes sub-
The upper and lower joints must fit ject to cracking, a situation we all hope
into the case in the correct direction in to avoid. Cracking can occur if part of
order for the case to close properly, and the wood absorbs moisture and expands
the case should never be forced shut while other sections are too drv: the
like an overstuffed suitcase. lf the difference in pressure may cause a
pieces are in the case in their proper crack. The same can be said of tem-
positions, the case should close securely perature. If you blow hot air through a
but easily. cold instrument, the temperature dif-
The mouthpiece should be placed in ference can cause the bore to expand
the case with the ligature on it, and while the outside remains cold and con-
then the mouthpiece cap should be tracted. Either way, the pressure on the
placed over both, with care being taken wood is inconsistent, and cracking is
not to nick or crack the facing of the possible. (For this reason, never use a
mouthpiece by hitting it with the cap. wooden instrument on the marchine
(I prefer plastic caps for this reason.) field.)
Itis best to take the reed off the Cracks can be repaired, remember,
mouthpiece before storing it. Reeds left so don't panic. Wood is a material that
changes over time and with fluctua-
tions of humidity and weather. There-
fore, the best way to avoid cracking is to
try to maintain consistency in the
wood's temperature and moisture level.
Keep the instrument as dry as pos-
sible, especially when placing it into
the case after playing; warm it up slowly;
keep it stored away from heat or cold
sources. If the tenon rings are loose,
the wood has become too dry and has
shrunk. If the joints are stuck, the wood
has expanded. Make sure you take your
instrument to a qualified repair person
right away to solve these problems be-
fore cracking occurs.
n
Une of the most lrequent questions I
receive concerning maintenance is
whether or not to oil the bores of wood-
bodied instruments. The answer is not
easy. Ihave never oiled my clarinet
bores, and I have never had a crack.
However, some people have a body
chemistry that causes the clarinet bore
to dry out considerably.
If your instrument has a very dry
bore, it is a good idea to oil it. Do this
only during cold months (when your
heating system dries the air) or if you
live in a very dry climate. To oil the
bore, place a few drops of bore oil on
an old swab and pull the swab through
the instrument. The important thing is
that if you do it once, you must then do
it regularly-once every two weeks or
so during the winter months in cold
in very dry cli
climates, or more often
mates.
Do not use anything except bore oil
that you find in music stores, which is
formulated from light mineral oils that
will not turn rancid. Oiline the bore
will not affect your clarinei's tone or
fesponse.
Finally, make sure that your students
never stand a clarinet on the floor by
the bell (unless, of course, they have a
clarinet peg), lay it on a music stand,
leave it on an unstable chair or lying on
the floor, carry it through the halls with-
out regard to protecting the mouthpiece
from hitting the walls or their friends,
leave the mouthpiece cap off while
waiting in line to take an all-state audi
tion or leave it unattended-in or out
of the case.
Teach every student to care for and
protect his or her clarinet.It is an in-
strument, not a toy, and deserves good
treatment and respect. lf students be-
lieve they are in possession of a pre-
cious object, they will learn to value it,
and they will value the work they do
with it all the more. E
'ffi
IHE LEBLANC BELL WINTER 2OO3
TEACHING BEGINNERS
and
GENERAL PEDAGOGY
 CLARINET STUDENT QUALIFICATIONS AND APTITUDES

1. Student must be physically large enough to hold the instrument with proper hand
positions.
a. Must cover holes without straining. In general, students who are too small
tend to develop poor hand position which can become extremely difficult
to correct. Consequently, they progress more slowly and often become
discouraged.

2. Any student with normal teeth, lip, and chin formation can learn to play
successfully.
a. Crooked teeth can be overlooked or compensated for if not too severe.
b. Braces may lead to initial embouchure problems which can usually be
compensated for and corrected later.
c. Thicker or thinner lips pose no problems.
d. Overbite and underbite can be compensated for. (Some even prefer
overbite!)

3. A double-jointed student is likely to achieve more success on an instrument

requiring less technical facility (such as brass instruments or percussion.)

4. Steady aptitude can often be determined by the success of the student in

producing a steady, natural tone. This should be clear, strong, and sustained for
five to ten seconds.

5. The clarinet is the most common beginning woodwind instrument. Once a

student develops facility on the clarinet, a student can easily transfer to other
woodwind instruments (saxophone, bassoon, oboe) without many difficulties.
 CHECKLIST FOR ASSEMBLY
(Frederick Westphal)

Observe the student in the operation of assembling and disassembling the instrument and
check the following items. If any mistake is made, the entire process should be repeated
until perfect.

Yes No Comments
1. Were corks examined to see if they
were well greased?
2. Upper joint held properly?
3. Lower joint held properly?
4. Bell joint held properly?
5. Barrel joint/neck held properly?
6. Mouthpiece held properly?
7. Bridge keys properly aligned?
8. Flat part of mouthpiece properly
aligned?
9. Ligature placed on mouthpiece
before reed?
10. Reed placed correctly on
mouthpiece?
11. Ligature tightened to the proper
degree?
12. Parts assembled in the correct
order?
13. Parts disassembled in the correct
order?
14. Parts placed properly in case?
15. Mouthpiece cap in use?
 CHECKLIST FOR HOLDING AND HAND POSITIONS
(Frederick Westphal)
The following list of items provides a thorough check of holding positions and hand
positions, and is limited to the seated positions for all instruments. The check should be
performed while the student is playing, preferably when he is not aware that the check is
being made. Any items which are checked ““NO”” should be corrected, with the deviation
explained to the student, what effect it has on his/her playing, and why the correct
position is important. Students make a more serious effort to correct mistakes if they
thoroughly understand the reasons for them.

HOLDING POSITION
YES NO Comments
1. Instrument in center of body?
2. Angle with body correct?
3. Head up/level?
4. Shoulders back and relaxed?
5. Elbows relaxed and free?
6. Height of music stand correct?
7. Body posture good?
8. Feet in place?

HAND POSITIONS
YES NO Comments
1. Right thumb contacting thumb rest
properly?
2. Left thumb at diagonal across instrument?
3. Tip of left thumb touching register key?
4. Fingers naturally curved?
5. Fingers across instrument at proper angle?
6. Right pinkie finger touching home key?
7. Left pinkie finger touching home key?
8. Thumbs/index fingers form a ““U””?
9. Wrists in and down?
10. Left hand index roll to ““A”” key?
11. Register key operated by vertical
movements of the first joint?
12. Left side g# played with bottom of
straight finger?
13. Right hand kept in position when index
finger plays a side key?
14. Guide position consistently maintained?
15. Pads/balls of fingers covering/closing
holes?
 Squeaks: The Ever Present Danger
Keith Lemmons
The University of New Mexico
For clarinet and saxophone students, there is almost everyday occurrence of squeaking.
It seems single reed players have this as a built-in nemesis and an ever-present
possibility.

We often try to blame the reed as the culprit, but the cause of the squeak is usually the
player. Remember to consistently use embouchure pressure, throat position (voicing),
breath support, and tongue (articulation) to maximize control and enhance the vibration
of the reed. If squeaks are common, look for these situations first:

a. Any change or fluctuation of the embouchure.

b. Not enough tension with the lips, especially in the corners.
c. Too much tension/upward jaw pressure against the reed.
d. Overblowing OR Lack of adequate breath support.
e. Overall tightness within the oral cavity or throat.
f. The angle of the clarinet is wrong. (Remember, it should only be 30 to 45
degrees at the most.)
g. Improper tongue placement. Tongue should be slightly arched, articulation
should be almost tip of tongue to almost tip of the reed and LIGHT.
h. Improper covering of tone holes with fingers. Be sure to use the fleshy part of
the fingers.

If none of these seem to be the problem, check the reed. Remember that the reed can be
very unpredictable, and the way it responds depends on weather, humidity, and
temperature. The reed must be adequately soaked with water before playing, preferably 3
minutes or so of soaking in water. Make sure the reed is not warped and make sure the
tip is flat as well. Also, consider checking for cracks, chips or a tip which is too thin. The
reed may also be too hard……if it is, everything will be hard to control.

If squeaks STILL occur, consider:

a. leaks in the pads/poor pad seating.

b. bad tenon corks.
c. malfunctioning ligature, bent, too big, or too small.
d. tuning problems: Is the clarinet pulled out too far at any/each joint?

Try to be aware of the causes of your squeaks, and gradually, they will disappear.
 Eb Soprano Clarinet Alto Clarinet Bass Clarinets
Holding position Same as Bb Same as Bb Modified from Bb
due to angle of neck
of bass clarinet.
Posture Same as Bb Similar to Bb. Player should bring
Check peg bass clarinet to self,
height/neckstrap not self to bass
adjustment. clarinet. Check
height of
peg/neckstrap.
Hand Position Similar to Bb but Similar to Bb but Similar to Bb but
tone holes closer. tone holes farther tone holes farther
apart. apart.
Key mechanism Same as Bb. Extra key for low Minimum extra key
Eb and key for low Eb (and
mechanism for ½ down to low C
hole. Check for possible.) Tone
bridge between bell holes covered. ½
and lower joint. hole mechanism.
Check bridge keys.
Assembly Same as Bb but Same as Bb but Same as Bb but with
body consists of body typically only low peg, neck
only one piece. in one piece. instead of barrel.
Mouthpiece Smaller than Bb. Larger than Bb. Larger than Bb.
Make certain to Make certain to
have enough have enough
mp/reed inside mp/reed inside
mouth. mouth.
Reeds Use Eb reeds or cut Use alto clarinet Use bass clarinet
Bb reeds at butt of reeds or alto sax reeds or tenor sax
reed. reeds. reeds.
Embouchure Same as Bb. Similar to Bb but a Similar to Bb but
bit less firm. bit less firm.
Written pitch Same as Bb. Same as Bb. Same as Bb. Bass
clarinet parts
sometimes written
in bass clef.
Sounding pitch Written C sounds a Written C sounds a Written C sounds an
m3 above. M6th below. octave and a step
below.
Voicing/Oral Cavity Similar to Bb. Arched, focusing Arched, focusing
Sometimes tongue still tongue still
necessary to necessary, but necessary, but
imagine more ““ah”” tongue likely not tongue likely not
than ““hee.”” quite as high. quite as high
Altissimo Same as Bb. Same as Bb but use Same as Bb but use
 Different tuning ½ hole feature. ½ hole feature.
considerations. Think ““hee”” as for Think ““hee”” as for
Listen carefully. Bb. Bb.
Articulation Same as Bb. Same as Bb. Same as Bb.
Breath Support/Air Similar to Bb. MORE air than Bb, MORE air than Bb,
Use less resistance. less resistance.
 REPERTOIRE
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BIBLIOGRAPHY
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 Clarinet Method Books

Beqfutiuklgtermedirte lryeli
Clarinct Student Books 1,2, & 3
Enjoy Playing the Claringt
Clarinet Msthod
The Complete Clarinel Player Books
The Shrdent Clarinetist Books 1 & 2
Yamata Clarinet Student
A Tnne aDay Books I,2,&3
Tunes for Clarinet Technique
Internediate Method for Clarinet
Daily Excrcises and Scales for Clminet
Fred WeberlRobert Lowry @elwin)
Ruth Bonefti (Ordor$
George Waln (Warner Bros.)
l&2 Paul Harvey (Wise Publications)
Benjamin Spieler (Player press)
JobnKinyon(AIH)
C. Paul Herftrth @oslon Music Co.)
tselwin
Skornica/lr{illo (Rubank)
G. Pares

Ailvrnced Eigh School [.€vd:

Advanced Method for Clarinet Gower/Voxman (Rubank)
Melodious and hogressive Studies Book I &2 David Hite (Southern)
26 Studies for the Clarinet Cyrille Rose peduc)
Clarinet-Scales and Arpcggios A\.rahm Galper@oosey & Hawles)
Modern Coune For the Clarinet Scales and Arpeggios James Collis (Ilenri Elkan Music)
Artistic Studies from the French fthool (Ro.rj noot I David Flite (Southenr)
Artistic Studies from the lalian School (Cavallini) David Hite (Southem)
Artistic Shrdies from the Gernan School (Baennann) David Hite (Southem)
Foundation Studies for Clarinet @aermann III) David Hite (Southern)
Celebrated Method for Clarinet H. Klose (Carl Fischer)
The Progressing Clarinetist Leon Lester (Carl Fischer)
The Advancing Clarinetist Leon L$ter (Carl Fischer)

$unnleqeptarv Method Bof *ti

Essential Clarinet Techniquc John Davies & Paul Hanis (Fahr Mirsic)
Stntlies and Melodious Etudes for Clainet Robert Lornry
Section Studies for B-flat Clarinet Nilo Flovey
First Book of Practical Studies for Clarinet NiIo Hovev
Second Book of.Practical Studies for Clarinet Nilo Hovey
A Rhythr Day
a Belwin Mills
Winning Rhythms Edward L. Ayola
Rhythmic Training Robert Star€r (MCA Musie)
Melodic Etudcs for Beginniug Clarhet Norman Heim
Technical Studies for Beginning Clarinet NomranHeim
Development of the Altissimo Rcgister for Clarinet- Norman Heim
The NewExtended Wor{ring Range forClarinet Iklmen Oppermsn
Clarinet Handbook Norman Heim
ClrinetNste Speller Fred Weber
60 Rambles for Clarinet \
Ltnn Lestbr
Odd Meter Enrdes Everet Gates
Odd MeterDuets dv6retGafes
Major and Minor vol. 24 wlCD Janey Aebenold
Gsttrng' it Together vol.2l wlCD Jamey Aebusold
 Solo Repertoire

Ep4nning.Intefmcdirte Level:
Ancient Minuet Arman/tlite (Southern)
Arioso from CantataN. 156 J.S. Bach (Carl Fischer)
Chansonette A. Barret (Rubank)
Noctrme L. Bassi (Rubank)
Romance J. BeckerA/oxrnan @ubank) C &C Collection
Sonata in D Beethove,n axr. Webster (Schirmer)
Eve,ning in the Country BartoM{srris (Ludwig)
When the Satins Go Marching In Forrest L. Buchtel (Neil A. K,ios)
Serenade Fonest L. Bushtel (Neil A. Kjos)
Bmken Reed Blues (unnacompanied) Paul Harvey (Cool Music)
Dixie Pixie Paul Harvey (Cool Music)
Chaoson Modeme Hovcy (Belwinl
Chrysalis G. Langenus (Carl Fischer)
Aria Caatando Hovey @elwin)
Menuetto K.334 Mozart Eubank)
Timepigcg Leonie Niehaus (Kendor Music)
Piece in G minor Pieme (Southern)
Wess€x Pasorale Stooks (Southern)
Little Serenad€ Purcell/Worlcy &udwig)
Paerandthe Cat ProkotrevlFms€r
Clarinata Whihey (Spratt)
Pepperino Concert Caprice R M. Endresen(Rubank)
Tom Sawyer Suite James Collis @oosey and Hawkes)
Clarinetto Arioso Wiltied Berk (Anton Benjamin)
Famous Melodies Rossini/Cowles {Ricordi)
Famous Melodies Puccini/Cowles (Ricordi)
Leonad Bcrnstein for Clarinet Bernsteix/Elliot @oosey and Hawkes)
EngliS Folk Songs for Clarinet Wise Publication (Dorsey Brorhers Music)
Selected Clarinet Solos Amsco {Amsco Publishing)
Album for Clarinet and Piano Grainger (Schirmer)

Advanq.ed Hig$ School Lcvel;

Adagio Baermann (Schirner)
Scene andAirop. 82 Bergson (Rubank)
.Cantilene L. Cahuzac
Adagio and Taraatella Cavallini arr. Hite (Carl Fiscber)
Festival Solo Collis (Boosey and Hewkes)
Tom Sawyer Suit€ Ccllis @oosey and Hawkes)
Sonata Danzi (Scbott)
Petite Piece Debussy alr. Hite (Irubl?)
Fantasy $uite lrnhill (Boosey and HawkesJ
5 Bagatelles Finzi (Boosey and Hawkcs)
Phailasy Pieees op.43 Gade (Souftern)
Fantasie Gaubert (Southenr)
Allegretlo Gaubert (Southefn)
Lanento et Tarantclle Grovlez (Leduc)
 Jazzy Clarinet vol. | &2 Paul Harvey
Concerto in E-flet Krommer (Soutbeor)
Duo Concertante Milhaud (tcduc)
Canmnetta op. 19 G. Pieme (Rubank, Southern)
Solo de Concours Rabaud (Southern)
Flight of tbe Brnblebee Rimslqy-Korsa&ov (Sartorella)
Fantasie Pieces Schumann (Schirmer)
Concedo no. 3 in B-flatMaior Carl Stamift (Peten)
Corcertino Tatini/Jacob (Schirmer)
Sonatina Jarres Walker (Schirmer)
Variadons Weber (Schimrer)
Sonste Wanhal Qnternational)
Concertino Weber (Intemational)
Concerto no. I in fminor Weber $nternational)
Concerto no. 2 in E-flat l@jor Weber (tntcrnational)
Variations op. 33 Weber (Schirmer)
Grand Duo Concsrtante Webcr (Schirmcr)
Sonatine Jaromir Woinberger (Carl Fischer)

Splo Reoertoirc Comoilrtiqps/Co4ectign$l

Mashrworks for Clarinet and Piano ed. Eric Simon (Schinner)
The Recital Cladnetist Armato (Carl Fischer)
Sixteen Grand Solos forClarinet arr. Booade (Southern)
Soloist Folio for B-flst Clarinet and Piano Rubank .
Solos fot thc Clarinet Player ed. {rthur Christman (Schirmer)
Fmtastic Faudliar Folk Songs Feldstein/O'Railly
Concert and Contest Collcstion for B-flat Clarinet H. Voxman (Rubank)
French Pieces for Clarinet and Piano edDonaGilliao snd MizyMcCrskitt (Mel Bay)
€lessig Festival Solcs for Clrinet Vol. 1 &Z
Clarinst Eluets sd. William Eisenhauer (dted)
Clsiwt ftrcert Pieces ed. arr. Pamela Weslon
Clrinct Solos ed: an Thea King (Chester Music)
Joplin Ragtim€ an. Colin Cowles (Fentone)
Albumfor Clarinet Grainger (Schirmer)
Six Stdies in English Folk Song Vzughn-Wiiliam (Stainer & BelVcalaxy)
fthumann for Clarinet King
Satie Album Satie

Trangposine Solo Litenturc for Chrinet in r.

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