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

ii

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

v

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.

vi

LIST OF ABBREVIATIONS

AMEB – Australian Music Examinations Board

ANZCA – Australian and New Zealand Cultural Arts

CD – compact disc

DVD – digital video disc

vii

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 student’s 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 album’s 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 clarinettist’s 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 mother’s dance band. The sheet music contained the musical notation, but

assumed understanding on the part of the player, for it contained very little phrasing

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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 Don’s 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

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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

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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 “… Australia’s 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.

10

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

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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 “med–up swing” (medium to up-tempo

swing) or “slow bossa” (slow tempo, bossa nova in style).

15

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 Pearson’s 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 publisher’s

website, iPAS software evaluates “… a student’s 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

16

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.

17

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.

18

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

19

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 doesn’t 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 piece’s 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,

20

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

21

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 Sigel’s 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.

22

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

student’s 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)

23

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 you’re 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 “Basie’s 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 Brandao’s 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”

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“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

25

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 Rae’s 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

26

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 piece’s 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. Rae’s 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 Norton’s 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

27

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 Bailey’s

very good pieces are included in various AMEB woodwind and brass syllabi. Two of

these pieces are fifth grade clarinet pieces Stoker’s 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 piece’s 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.

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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 author’s 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 Wastall’s 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

29

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 AMEB’s Clarinet Second Grade Series 2 publication -

“Stranger On the Shore” by Acker Bilk, Henry Mancini’s “The Pink Panther” and

“Cowboy Blues” by Australian composer Peter de Vries. The book contains

30

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

AMEB’s 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

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.

where

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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

32

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.

33

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.

34

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

35

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

study’s 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 student’s cognitive awareness, the strategy of a performance-

based model was favoured over a theoretical model. In the interests of developing the

(classical) player’s 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

36

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 player’s 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

37

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

38

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.

39

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

40

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

41

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

another’s. 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

42

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 player’s 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

43

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.

44

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.

45

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)

46

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 AMEB level

Range

Style Clarinet key

Time signature Form

Pedagogy Musical characteristics (rhythmic figures, motific

elements, dynamics, phrasing and accentuation)

Features of interest

Liquorice Stick

(grade 2)

Medium swing

American Popular

Song form AABA coda

Development of a swing language through

articulatory “lyrics”

(phonetic sounds)

Introduction of

characteristic swing figures

Swing figures:

Dynamic range pp - f

Alternative swing articulations to produce

alternative phrasing styles:

Mellie the Excitable

Dog (grade 3)

Light classical Musical theatre

Vaudeville

Extended American

Popular Song Form

AABAAcoda

Articulation, chromatic movement, extended

techniques

Dynamic range p – f

Use of accent (main

theme):

Quasi-bossa nova Clave:

Extended technique-breathy pant:

Surfers Paradise

Salsa (grade 5)

Salsa

to

to

Rondo form

Development of a latin language through

articulatory “lyrics”

(phonetic sounds)

Introduction of

characteristic Salsa figures

Clave:

Quasi-classical for

contrast:

Legato tongue:

Dynamic range

pp – f

Glissando, detailed articulation

47

Title AMEB level

Range

Style Clarinet key

Time signature Form

Pedagogy Musical characteristics (rhythmic figures, motific

elements, dynamics, phrasing and accentuation)

Features of interest

Rock It Man

(grade 4-5)

Rock

to

Compound

ternary form

Development of a rock language through

articulatory “lyrics”

(phonetic sounds)

Rock figures:

“Improvisation” section:

Dynamic range pp – ff

Quasi-improvisatory section, use of blues notes (b3, b7 – both clarinet and piano

parts), change of key, extremes of range

Clarimania (grade 6)

Contemporary classical/

Pan-diatonic, chromatic

Through – composed

Prepared clarinet

(mouthpiece, lower joint and bell), extended

techniques

Deliberate intonation discrepancies (new scale)

Dynamic range: p – ff

Wa wa effect:

New scale:

Wa wa effect (pitch deviation with hand over bell), deliberate

intonation discrepancies

Foofaraw (grade 4)

Fast, florid and flashy

Rondo form

Control of ornaments,

fast playing, dynamic control

Trills, mordents, acciaccaturas

Dynamic range pp – ff

Accompaniment left hand only

African Rhapsody Grade 6

World music, quasi-African

Ternary form

Development of and

exposure to world music

style

Improvisatory in nature

Clarinet melody over piano ostinato:

2 against 3 polyrhythm:

Dynamic range:

p - f

Polyrhythmic, glissando, scoop

48

Title AMEB level

Range

Style Clarinet key

Time signature Form

Pedagogy Musical characteristics (rhythmic figures, motific

elements, dynamics, phrasing and accentuation)

Features of interest

2 Cool 4 Skool

(grade 4)

Laidback swing

American Popular Song

form

Development of a swing language through

articulatory “lyrics”

(phonetic sounds)

Introduction of

characteristic swing figures

Characteristic swing figure in main motif:

Backbeating, ghosting, smear.

Ghosting:

Important Occasion (grade 1)

Slow, expansive.

Ternary form

Tone & pitch development, articulation,

keywork, dotted rhythm

Rhythm

¾ lilt Dynamic range

p - f

Throat note fingerings & intervals as per Style Guide (see sheet music)

Aunty Hilda

Boogie Woogie

Binary form

Development of a boogie language through

articulatory “lyrics”

(phonetic sounds)

Use of accent in main theme:

Accent and syncopation:

Accent, phrasing, blues chord progression

Strange Goings On (grade 3)

Slow, expansive classical. Through

composed

to

Tone production, extended

techniques, Breath control

Dynamic range pp – f

Use of chromatic, whole tone scales

Main theme:

Wide intervals:

Microtonal (timbral) tremolo:

49

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.

50

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

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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 note’s 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

52

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 player’s 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.

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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

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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.

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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

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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:

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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:

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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 dog’s excitement, the use of accent

and staccato were appropriate, as well as setting the piece to a bright but manageable

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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 music’s 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.

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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 style’s 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.

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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 clarinettist’s 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 player’s 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 Stravinsky’s

Petrouchka. The work concludes diatonically with a G major chord.

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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 clarinettist’s 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

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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.

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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.

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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

66

perspective of the listener’s 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.

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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.

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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 student’s 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

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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 dart’n

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.”

70

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, here’s 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.’

71

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

72

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. Don’t 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. Don’t 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. It’s 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 it’s 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. Don’t just play. Analyse and identify things you do well and things that need improving. What aspects can’t you do as well as you’d like? How can you improve these? Isolate them and work on them. If it’s, say, an interval – practise that interval. Don’t 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 - don’t practise something the same way each time, especially if it’s 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 you’re 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.

73

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 conductor’s 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. It’s 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. Don’t 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.

74

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.

75

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 don’t 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 don’t 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.

Copyright © 2007

Swing - light and fun q = 112Brad Millard

Clarinet in Bb

This is lighthearted and should be fun to play. Enjoy the interaction with the piano and swing the rhythmsas 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 StickA

mf

(1)

mp

(2)

6

mf

mp

sim.

B11

mf

(3)

mf

16 C

p

(4)

22

mf

cresc.

D27

f

31

E35

pp cresc.

(5)

41

mf cresc.

f

44

76

Copyright © 2007

Swing - light and fun q = 112

Swing - light and fun q = 112

Brad Millard

This is lighthearted and should be fun to play. Enjoy the interaction with the piano and swing the rhythmsas 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 StickA

A

Clarinet in Bb

Piano

Clar part writtenmajor 2nd higher

mf

mf

Use sustain pedal sparingly or not at all(throughout)

5

Cl.

Pno.

mp

mf

mp

sim.

mp

mf

mp

10 B

B

Cl.

Pno.

mf

mf

15 C

C

Cl.

Pno.

mf

p

p

77

21

Cl.

Pno.

mf

cresc.

mf

cresc.

sim.

D

D

27

Cl.

Pno.

f

f

32 E

ECl.

Pno.

pp cresc.

pp cresc. sempre

37

Cl.

Pno.

mf cresc.

sim.

mf cresc.

42

Cl.

Pno.

f

f

78

79

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 – that’s 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 Mellie’s 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 don’t 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 don’t use the vent key for the Dbs.

Happily q = 126Brad MillardMellie the Excitable Dog

Copyright © 2007

Clarinet in Bb

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, notclarinet 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.

f

Breathy pant through clarinet

(1)

5 A

mp

(2)

10

cresc.

B14

f

18

C22

mp

(3)

p cresc.

mf

27

f

80

32 D

p

37

cresc.

E41

(4)

f

45

F49

mp cresc.

mf

cresc.

54

f

56

f

Clarinet in Bb

81

Happily q = 126

Happily q = 126

Brad MillardMellie the Excitable Dog

Copyright © 2007

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, notclarinet 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

Piano

Clar part writtenmajor 2nd higher

f

Breathy pant through clarinet

mf

mp

4 A

A

Cl.

Pno.

mp

mp

sim.

9

Cl.

Pno.

cresc.

cresc.

B

B

14

Cl.

Pno.

f

f

82

19 C

C

Cl.

Pno.

mp

mp

24

Cl.

Pno.

p cresc.

mf

p cresc.

mf

29 D

D

Cl.

Pno.

f

p

p

35

Cl.

Pno.

cresc.

cresc.

sim.

83

40 E

E

Cl.

Pno.

f

f

44

Cl.

Pno.

f

F

F

49

Cl.

Pno.

mp cresc.

mf

mp cresc.

mf

53

Cl.

Pno.

cresc.

f

cresc.

56

Cl.

Pno.

f

f

84

85

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 can’t 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.

Brightly q = 132Brad Millard

Surfers Paradise Salsa

Copyright © 2007

Clarinet in Bb

Salsa literally means "sauce" in Spanish, but is also used to describe a type of Afro-Cuban dance music whichincorporates elements of jazz and rock. Salsa is characterised by its reliance upon a two bar rhythmic figurecalled 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.

AA

mf

(1)

8

12

A17

mf

(2)

21

B25

p

(3)

dolce

29

mp

C33

Stately

pp

37

86

D41

mf

45

E49

mp

(4)

sim.

54

58

sim.

62

F66

f

71

G76

mf

sim.

f

80

(5)

Clarinet in Bb

87

Brightly q = 132

Brightly q = 132

Brad MillardSurfers Paradise Salsa

Copyright © 2007

Salsa literally means "sauce" in Spanish, but is also used to describe a type of Afro-Cuban dance music whichincorporates elements of jazz and rock. Salsa is characterised by its reliance upon a two bar rhythmic figurecalled 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

Piano

Clar part writtenmajor 2nd higher

mf

Use sustain pedal sparingly or not at all(throughout)

AA

AA

5

Cl.

Pno.

mf

9

Cl.

Pno.

sim.

13

Cl.

Pno.

88

A

A

17

Cl.

Pno.

mf

mf

sim.

22 B

BCl.

Pno.

p dolce

p

dolce

27

Cl.

Pno.

mp

mp

32 C

CCl.

Pno.

Stately

pp

pp

Stately

37 D

D

Cl.

Pno.

mf

mf

89

42

Cl.

Pno.

sim.

47 E

E

Cl.

Pno.

mp

mp

51

Cl.

Pno.

sim.

sim.

56

Cl.

Pno.

sim.

61

Cl.

Pno.

90

65 F

F

Cl.

Pno.

f

f

sim.

69

Cl.

Pno.

74 G

G

Cl.

Pno.

mf

sim.

79

Cl.

Pno.

f

f

82

Cl.

Pno.

sim.

91

92

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 you’re 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.

Moderate rock q = 120

Copyright © 2007

Clarinet in BbRock It Man

Brad Millard

You can really sink your teeth into this. Observe the phrasing marksto help capture the right style. Project your sound

and your musical ideas. Play with energy!

A

mf

(1)

9

13 B

(2)

f

17

C22

f

(3)

26

30

3

33

36

ff

(4)

D40

V.S.

(5)

93

46 E

p

51

55

57 F

f

pp

62

cresc.

mf cresc.

f

66

ff

Clarinet in Bb

94

Moderate rock q = 120

Moderate rock q = 120

Copyright © 2007

Rock It ManBrad Millard

You can really sink your teeth into this. Observe the phrasing marksto help capture the right style. Project your sound

and your musical ideas. Play with energy!

Clarinet in Bb

Piano

mf RH tacet 1st time

Use sustain pedal sparingly or not at all(throughout)

A

A

5

Cl.

Pno.

mf

mf

10B

BCl.

Pno.

f

f

15

Cl.

Pno.

19 C

CCl.

Pno.

f

f

95

23

Cl.

Pno.

sim.

27

Cl.

Pno.

31

Cl.

Pno.

3

sim.

35

Cl.

Pno.

ff

D

D

40

Cl.

Pno.

sim.

96

45 E

E

Cl.

Pno.

p

p

50

Cl.

Pno.

55F

FCl.

Pno.

f

f

59

Cl.

Pno.

pp

cresc.

pp

cresc.

63

Cl.

Pno.

mf cresc.

f

cresc.

f

sim.

mf

97

67

Cl.

Pno.

ff

ff

98

99

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 doesn’t 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.

Brad Millard

Prepared Clarinet ClarimaniaRobot - likeq = 96

Copyright © 2007

This is played on a "prepared" clarinet comprising only 3 of the 5 components of the instrument! Doing soproduces 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 actuallysound. Don't be concerned when notes are out of tune - that's part of the effect of "Clarimania".

mp

(1)

(No fingers down)

5

9

A13

p

16

B

f

(2)

19

21

23

24

100

C26

ff

28

30

32

D35

mp

(3)

mf

mp

38

E

mf

Prepare for wa-waeffect in bar 44

f

42

p

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

mp

45

mp

50

ff sub

Prepared Clarinet

101

Brad MillardClarimaniaRobot - like

Robot - like

q = 96

q = 96

Copyright © 2007

This is played on a "prepared" clarinet comprising only 3 of the 5 components of the instrument! Doing soproduces 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 actuallysound. Don't be concerned when notes are out of tune - that's part of the effect of "Clarimania".

Prepared Clarinet

Clarinet concert pitch

Piano

mp

mp

mp

4

Cl.

Cl.

Pno.

(No fingers down)

7

Cl.

Cl.

Pno.

102

10

Cl.

Cl.

Pno.

A

A

13

Cl.

Cl.

Pno.

p

p

p

16

B

B

Cl.

Cl.

Pno.

f

f

f

19

Cl.

Cl.

Pno.

103

21

Cl.

Cl.

Pno.

23

Cl.

Cl.

Pno.

25C

C

Cl.

Cl.

Pno.

ff

ff

ff

27

Cl.

Cl.

Pno.

104

29

Cl.

Cl.

Pno.

31

Cl.

Cl.

Pno.

33

D

D

Cl.

Cl.

Pno.

mp

mp

mp

36

Cl.

Cl.

Pno.

mf

mp

mf

mf

mp

mf

mf

mp

mf

105

39

E

E

Cl.

Cl.

Pno.

Prepare for wa-waeffect in bar 44

f

p

f

p

f

p

43

Cl.

Cl.

Pno.

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

mp

mp

p

47

Cl.

Cl.

Pno.

mp

mp

p

50

Cl.

Cl.

Pno.

ff sub

ff sub

ff sub

106

107

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 you’re 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 don’t sound like you’re 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.

Brad MillardFoofaraw Brightly q = 132

Clarinet in Bb

Copyright © 2007

Foofaraw may sound like a made up word, but it is an actual word which means an abundanceof 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.

f

(1)

A9

p

B17

f

(2)

24 C

p

31 D

f

40 E

p

48 F

mp

(3)

56

mf

63 G

pp

72

mf

108

80 H

f

accel.

(4)

I89

ff

94

accel.

Clarinet in Bb

109

Brad MillardFoofaraw Brightly q = 132

Brightly q = 132

Copyright © 2007

Foofaraw may sound like a made up word, but it is an actual word which means an abundanceof 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

Piano

Clar part writtenmajor 2nd higher f

f

A

A

9

Cl.

Pno.

p

p

B

B

17C

C

Cl.

Pno.

f

p

f

p

26D

D

Cl.

Pno.

f

f

110

35E

E

Cl.

Pno.

p

p

44F

F

Cl.

Pno.

mp

mp

53

Cl.

Pno.

mf

mf

62G

G

Cl.

Pno.

pp

pp

111

71

Cl.

Pno.

mf

mf

80H

H

Cl.

Pno.

f

accel.

accel.

f

88I

I

Cl.

Pno.

ff

ff

93

Cl.

Pno.

accel.

accel.

112

113

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.

Brad Millard Driving q. = 112

African RhapsodyClarinet in Bb

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.

Copyright © 2007

A

p

(1)

11

19 B

mp

(2)

27

mf

35 C

più mf

41

f

mp

46

decresc.

D53

p

E61 F

mp

espress.

(3)

77

mf

114

87 G

mp

cresc. sempre

(4)

94

mf cresc.

99

H105

f

111

117

cresc.

I121

f

(5)

128

135 J

mp decresc.

Clarinet in Bb

115

Brad Millard

Driving q. = 112

Driving q. = 112

African Rhapsody

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.

Copyright © 2007

A

A

Clarinet in Bb

Piano

Clar part writtenmajor 2nd higher

p

pUse sustain pedal sparingly or not at all(Letter E excepted)

sim.

7

Cl.

Pno.

14

Cl.

Pno.

p

20 B

B

Cl.

Pno.

mp

mp

26

Cl.

Pno.

mf

mf

116

32 C

C

Cl.

Pno.

più mf

più mf

38

Cl.

Pno.

f

f

44

Cl.

Pno.

mp

decresc.

mp

decresc.

50 D

D

Cl.

Pno.

p

p

56 E

E

Cl.

Pno.

mp

espress.

117

63 F

FCl.

Pno.

mp

espress.

2

72

Cl.

Pno.

mf

mf

2

82 G

G

Cl.

Pno.

mp cresc. sempre

mp

90

Cl.

Pno.

mp cresc. sempre

96

Cl.

Pno.

mf cresc.

mf cresc.

118

102H

H

Cl.

Pno.

f

f

sim.

108

Cl.

Pno.

114

Cl.

Pno.

gliss.

cresc.

cresc.

120 I

ICl.

Pno.

f

f

126

Cl.

Pno.

119

132J

J

Cl.

Pno.

mp decresc.

mp

138

Cl.

Pno.

p

120

121

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. Don’t 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.

• don’t forget to observe dynamics and make the f parts exciting.

Copyright © 2007

Laidback swing with attitude q = 102

Clarinet in BbBrad Millard

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

mp (1)

(2)

5

fp

3

A9

mf

(3)

3

13

B17

p

21

mf

cresc.

C25

f

(3)

(2)

30

p sub.

f sub.

3

33

(3)

ff

3

122

Copyright © 2007

Laidback swing with attitude q = 102

Laidback swing with attitude q = 102

Brad Millard

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

Clarinet in Bb

Piano

Clar part writtenmajor 2nd higher mp

mp

Use sustain pedal sparingly or not at all(throughout)

4

Cl.

fp

3

8 A

A

Cl.

mf

mf

12

Cl.

3

quasi walking bass

123

16B

B

Cl.

p

p

sim.

sim.

20

Cl.

mf

cresc.

mp

mf

cresc.

24 C

C

Cl.

f

f

3 3

28

Cl.

p sub.

f sub.

3

p

f sub.

124

32

Cl.

ff

3

ff

125

126

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.

Important Occasion Brad Millard

Majestically q = 88

Copyright © 2007

Try to produce the best tone quality you can in this piece and listen carefully tothe 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.

A

Clarinet in Bb

mp (1)

8 B

p

(2)

15 C

mf

(3)

rit.

f

A tempo

21

mp

f

127

Important Occasion Brad Millard

Majestically q = 88

Majestically q = 88

Copyright © 2007

Try to produce the best tone quality you can in this piece and listen carefully tothe 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.

A

A

Clarinet in Bb

Piano

Clar part writtenmajor 2nd higher mp

mp

8B

B

Cl.

Pno.

p

p

15 C

C

Cl.

Pno.

mf

rit.

f

A tempo

mf

f

A tempo

rit.

21

Cl.

Pno.

mp

f

mp

f

128

129

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 don’t 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.

Copyright © 2007

Aunty Hilda Brad Millard Boogie woogie q = 120

Clarinet in Bb

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!

A

mf (1)

11

(2)

15

piu f

B19

24

(3)

(4)

28

fp

(5)

f

130

Copyright © 2007

Aunty Hilda Brad Millard

Boogie woogie q = 120

Boogie woogie q = 120

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

Piano

Clar part writtenmajor 2nd higher

mf

Use sustain pedal sparingly or not at all(throughout)

5 A

A

Cl.

Pno.

mf

sim.

p cresc.

mf

9

Cl.

Pno.

13

Cl.

Pno.

17 B

BCl.

Pno.

piu f

piu f

sim.

131

21

Cl.

Pno.

sim.

25

Cl.

Pno.

28

Cl.

Pno.

fp

f

f

132

133

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 (don’t 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.

Brad Millard

Clarinet in Bb

Slowly and steadily q = 108

Strange Goings On

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.

Copyright © 2007

p

*

(1)

*

p

*

*

A9

(2)

mf

mp cresc.

19

f

27 B

mf

p

34

pp

p

cresc.

mf

43 C

mf

(3)

48

D52

f

134

62

f

70 E

f

ff

(4)

78

F83 G

mp (5)

95

*

*

*

102

*

*

*

*

* 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# keyis 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

*

p

pp

Clarinet in Bb

135

Brad Millard

Slowly and steadily q = 108

Slowly and steadily q = 108

Strange Goings On

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.

Copyright © 2007

Clarinet in Bb

Piano

Clar part writtenmajor 2nd higher p

* Microtonal (timbral) trills. Fingerings on clar part

*

*

p

*

*

f

A

A

9

Cl.

Pno.

mf

mp cresc.

mf

mp cresc.

18

Cl.

Pno.

f

f

26 B

B

Cl.

Pno.

mf

p

mf

p

136

34

Cl.

Pno.

pp

p

cresc.

mf

pp

p

mf

42 C

C

Cl.

Pno.

mf

mf

49 D

D

Cl.

Pno.

f

f

56

Cl.

Pno.

f

mp

f

65E

E

Cl.

Pno.

f

f

137

73

Cl.

Pno.

ff

ff

82 F

FCl.

Pno.

mp

pp subito

G

G

91

Cl.

Pno.

mp

mf

99

Cl.

Pno.

*

*

*

*

*

104

Cl.

Pno.

*

*

*

p

pp

p

pp

138

139

WORKS CITED

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