playing the clarinet - bloomsburg university of …intro ch.1 ch.2 ch.3 ch.4 ch.5 ch.6 ch.7 summary...

Playing the Clarinet

BBByyy NNNaaayyyeeeeeemmm KKKaaarrriiimmm aaannnddd RRRaaaccchhheeelll UUUpppaaadddhhhyyyaaayyy IIInnntttrrroooddduuuccctttiiiooonnn tttooo IIInnnssstttrrruuuccctttiiiooonnnaaalll DDDeeesssiiigggnnn

FFFaaallllll 222000000999

TABLE OF CONTENTS PAGE

Introduction How to use this instructional manual, and the objectives of the instruction.

1

Chapter 1 Choosing a clarinet, and identifying its parts.

4

Chapter 2 Assembling, holding, and producing sound with the clarinet.

16

Chapter 3 Reading musical notation.

38

Chapter 4 Fingering notes on the clarinet.

69

Chapter 5 Playing scales on the clarinet.

87

Chapter 6 Performing songs on the clarinet.

101

Chapter 7 Maintaining the clarinet.

115

Summary A review of the information and lessons covered.

129

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

INTRODUCTION Welcome to Playing the Clarinet! This instructional manual will teach you the basics of the clarinet. Through the use of informative lessons, guided instructions, visual images, and self-assessment tools, it will allow you to: Play Scales and Songs Assemble the Clarinet Hold the Clarinet Operate the Keys, Levers and Holes Read Musical Notation Maintain the Clarinet

If these look like the things you would like to learn, then this manual is written for you. NEW TO MUSIC? DON’T WORRY… The content of this instructional manual will make learning to play the clarinet a simple and straightforward endeavor. You do not need to have prior experience with musical instruments or knowledge of musical notation.

Learning to play the clarinet is a straightforward endeavor and does not need to take a lot of time. The learning curve of the clarinet is rather sharp, and the more you practice, the faster you will be able to master the instrument. This means that with practice, you too can develop into an accomplished clarinetist. After completing this instruction, you will not only have the knowledge and skills, but also the confidence necessary to play the clarinet for any audience, including your friends and family!

You can swiftly acquire the skills necessary to play the clarinet. HOWEVER…As with any instrument, PRACTICE is the key to becoming an accomplished clarinetist.

1


USING THIS INSTRUCTIONAL MANUAL Before we get started, let’s take a look at how to use this instructional manual. At the top of each page, you will notice a progress bar that shows you how far you have advanced through the instruction. The chapter that you are currently on is indicated by white text on a shaded tab. Chapters that you have previously covered are faded out. As you can see, you are currently in the section marked “Intro.” Each chapter in this manual begins by stating the main objectives of the chapter. The information presented in each is easy to comprehend and is supplemented by clearly-labeled images. Each chapter also ends with a self-assessment and matching answer key. The assessment activities will coincide with the objectives mentioned in the start of each chapter. You are encouraged to complete these assessments without referring back to the information in the chapter to make sure that you have a firm grasp of the subject matter.

OBJECTIVES OF THIS INSTRUCTION

The following is a list of your main objectives:

• Choose a clarinet

• Identify parts of the clarinet

• Assemble the parts of the clarinet

• Position yourself to play the clarinet

• Produce sound with the clarinet

• Read Music

• Finger Notes

• Play scales

• Perform songs

• Maintain the clarinet

2


BEFORE YOU BEGIN… In order to be able to learn how to play clarinet, it is important that you: Can calculate 1/2 , 1/4 , and 1/8 of a whole Have full use of all of your fingers Are able to breathe deeply Have access to a clarinet

If you are able to do these things, then you are ready to being the instruction contained within “Playing the Clarinet!”

TTIIPPSS FFOORR SSUUCCCCEESSSS::

Select a quiet place to study the material, free from distractions.

Make sure that you have a chair and a surface to lay your materials and sheet music on for practicing.

PRACTICE, PRACTICE, PRACTICE! Make sure that you practice a few times a week.

3


CHOOSING A CLARINET

4

After completing this chapter, you will be able to:

Choose a Clarinet - Distinguish Between Wooden and Plastic Clarinets - Distinguish Between Boehm and Albert Clarinets

Identify the parts of the Clarinet - Identify the Mouthpiece, Reed, Barrel, Upper Joint,

Lower Joint and Bell


CHOOSING A CLARINET

BEFORE YOU BEGIN…

Now that you have made the decision to learn to play the clarinet, it is important for you to select which type of the instrument you would like to play. There are many ways that clarinets can differ from each other. These include: Sound Quality Key Structure Materials used to make the instrument.

In this chapter, we will look at a few of the clarinet variations that are out there so that you may have more information at your fingertips when thinking about borrowing, renting, or purchasing a clarinet of your own.

CLARINET MATERIALS Clarinets can be made of a variety of materials. Typically the body of the clarinet is made of some sort of wood or plastic and the keys are made of a metal. Although rare, some clarinets have been made with metal or ivory bodies, but these have not been found to be as practical. Let’s take a look at the difference between wooden and plastic clarinets.

5

After completing this section, you will be able to:

Distinguish between wooden and plastic clarinets

Distinguish between Boehm and Albert system clarinets


WOODEN CLARINETS There is not one certain type of wood that clarinets are made from. There are a number of different types. Most professional musicians use African hardwood, but these instruments can be incredibly expensive. Prices for a wooden clarinet usually range in the thousands of dollars. Wooden clarinets are renowned for their sound. The tone is reputed to be much richer than that of a plastic instrument. Therefore, purchasing a wooden clarinet is considered an investment for someone who is looking to play professionally. There is not much difference in the handling of a wooden clarinet. In fact, contemporary wooden clarinets look very similar to plastic ones. A wooden clarinet, however, weighs more and is more prone to cracking from humidity. Because of this, you will find it necessary to oil the inside of instrument with boar oil if you choose to own a clarinet made of wood.

6

Antique Clarinet made of Boxwood


PLASTIC CLARINETS Just as there are many different types of woods used to make wooden clarinets, there are several types of plastics used to make the plastic ones. Plastic clarinets are less expensive and are perfect for beginners. The lighter weight makes them easier to hold onto when you are learning how to finger the keys. In addition to being lighter weight, plastic clarinets do not crack in high humidity, and therefore are able to be played in all conditions. This makes them better for being used in marching bands and anywhere where you may play outside. Since they do not crack, plastic clarinets do not require any oil.

7

Plastic Clarinets Differ From Wooden Because They:

• Are Lighter

• Are Less Expensive

• Have a Different Tone Quality

• Do Not Crack; Do Not Need Oil

Contemporary Plastic Clarinet


FINGERING SYSTEMS

Not only are there differences in the materials that are used to make clarinets, you will find there are also

differences in the way the buttons or keys are laid out.

Throughout the hundreds of years that the clarinet has existed, musicians looked for ways to make it easier to play different sequences of notes at a fast speed. This led

to the development of several key layouts, or fingering systems. We will look at two of the most common, the

Albert and the Boehm systems.

THE ALBERT SYSTEM The Albert System of clarinet was developed by a man named Eugene Albert. It is not used very extensively in the United States, but has a place in the music of Eastern Europe and also in Turkish folk music. The Albert System is based on an earlier system that is now used by most German and Austrian clarinetists. Its purpose is to make it easier for the musicians to “slur” notes when playing. (You will learn about slurring in Chapter 3).

8

Other clarinet fingering system layouts include the Oehler System and the Three-Key

Kinderklarinette.

The Albert System Clarinet


THE BOEHM SYSTEM The Boehm fingering system was actually developed for the flute by Theobald Boehm. It was adapted for the clarinet in 1839 by Hyacinthe Klose and Auguste Buffet jeune. The Boehm clarinet system was initially very popular in France, but moved over to Belgium, Italy and America by the 1870s. Today it is the most widely used system in the United States. The Boehm system enhances the tone on the clarinet. It also adds duplicate keys for the left and right little fingers to make it easier for you to play some of the notes.

9

The Boehm System Clarinet

The Fingering Systems:

• The Albert system is better for slurring notes and is used mostly in Eastern Europe.

• The Boehm system has duplicate keys for easier play and is the most widely used system in the United States.

Though one fingering system is not better than another, please be advised that we will be using the Boehm System for the rest of this manual.


PARTS OF THE CLARINET BEFORE YOU BEGIN…

The clarinet is made up of six different parts. Since you will need to be able to assemble these parts in order to play the instrument, it is important that you know what they are.

THE PARTS THE BELL The bell of the clarinet is the base of the instrument. It flairs out at the bottom. Usually made of metal, the bell’s main purpose is to create a uniform tone for the lowest notes that a clarinet is able to play. It connects to the Lower Joint of the clarinet.

THE LOWER JOINT The Lower Joint of the clarinet makes up one half of the main body of the instrument. Its lower end connects to the bell, while the top end is joined with the Upper Joint. The Lower Joint contains the keys and levers that are played by your right hand. It contains a thumb rest on the back under which your right thumb sits.

10


Identify the Bell Identify the Lower and Upper Joints Identify the Barrel Identify the Mouthpiece Identify the Reed


THE UPPER JOINT The Upper Joint makes up the second half of the main body of the clarinet. Connected at the bottom to the Lower Joint and at the top to the Barrel, it contains all of the keys, holes and levers playable by your left hand.

THE BARREL Above the Upper Joint of the clarinet is a small piece called the Barrel. The barrel is used to fine tune the instrument. You can pull it out a bit to change the tone of the clarinet. Some musicians have interchangeable barrels of different lengths that they can use to change the sound of their clarinets. The bottom end of the barrel connects to the Upper Joint and the top part of it is joined with the Mouthpiece.

THE MOUTHPIECE The Mouthpiece is the wedge-shaped part of the clarinet that you place into your mouth to play. It is the part of the instrument that the reed attaches to. Its purpose is to provide a place for air to enter the clarinet when you blow. THE REED The reed is a thin piece of cane or synthetic material that is attached to the mouthpiece by a ligature. It has a flat backside that fits next to the mouthpiece and tapers to a thin tip at the top. Reeds come in varying sizes to fit the size of the mouthpiece. They also come in varying thicknesses that you will find alter the playability and sound of the clarinet.

11


DIAGRAM OF A CLARINET

12

The Clarinet has six parts:

• Bell

• Lower Joint

• Upper Joint

• Barrel

• Mouthpiece

• Reed

Now that you know a bit more about some of the different types of clarinets available, you have the information needed to go out and select your very own instrument.

Before renting or purchasing a used instrument, inspect it carefully for missing pads, broken keys or springs, nicks or scratches. These CAN AND WILL affect your performance!


CHAPTER 1 SELF-ASSESSMENT Write your answer in the space provided using a complete sentence. Do not refer to the chapter.

1.) Describe which clarinet best meets your needs and why.

2.) What are two ways in which a plastic clarinet is different from a wooden clarinet?

3.) What are the six parts of a clarinet?

13


CHAPTER 1 SELF-ASSESSMENT (CONTINUED)

Circle the picture that best matches your answer.

4.) Which picture depicts the Boehm system clarinet?

Label the parts on the picture that correspond to the answers.

5.) Label the bell, lower joint, upper joint, barrel, mouthpiece and reed on the picture provided.

14


CHAPTER 1 SELF-ASSESSMENT (ANSWER KEY) Write your answer in the space provided using a complete sentence. Do not refer to the chapter.

1.) Describe which clarinet best meets your needs and why.

2.) What are two ways in which a plastic clarinet is different from a wooden clarinet? (See “Clarinet Materials”) It is lighter Less Expensive Have a different tone quality Does not crack in humidity, so it does not need oil

3.) What are the six parts of a clarinet? (See “Parts of the Clarinet”)

Bell Lower Joint Upper Joint Barrel Mouthpiece Reed

15




1.) Which picture depicts the Boehm system clarinet?


2.) Label the bell, lower joint, upper joint, barrel, mouthpiece and reed on the picture provided.


CHAPTER 1 SELF-ASSESSMENT (ANSWER KEY)


4.) Which picture depicts the Boehm system clarinet? (See “The Boehm System”)


5.) Label the bell, lower joint, upper joint, barrel, mouthpiece and reed on the picture provided. (See “Diagram of a Clarinet”)

16

If you have answered each question correctly, then congratulations! You are now ready for Chapter 2. If not, then please review the material in the previous chapter and retake the Self Assessment before moving on.


PREPARING TO PLAY

17


Assemble the parts of the clarinet - Assemble the Mouthpiece and Reed - Assemble the Bell, Lower Joint, Upper Joint and Barrel

Position yourself to play the clarinet - Grasp the Clarinet

Produce sound with the clarinet - Tongue the Reed


PREPARING TO PLAY BEFORE YOU BEGIN… Assembling the six parts of the clarinet is a relatively simple and straightforward procedure. It is important, however, for you to pay attention to minor details while assembling the clarinet in order to avoid damaging the instrument. Careful assembly ensures that the clarinet plays with a good tone as well.

ASSEMBLING THE CLARINET The clarinet is assembled in two phases. In the first phase, you will put together the Mouthpiece and Reed. In the second phase, you will assemble the Bell, Lower Joint, Upper Joint, and Barrel. The first phase forms the sound producing component of the clarinet, while the second phase forms the body of the clarinet. When the two phases are complete, the clarinet is assembled by attaching the assembled parts from the first phase to the assembled parts from the second phase.

18


Assemble the Mouthpiece and Reed

Assemble the Bell, Lower Joint, Upper Joint, and Barrel


ASSEMBLING THE MOUTHPIECE AND REED Assembly of the Mouthpiece and Reed follows these steps:

1.) Remove the Mouthpiece, Ligature, and Reed from the clarinet case. If the Reed is inside a Reed Case, carefully take out the Reed from the Reed Case.

2.) Slide the Ligature onto the Mouthpiece. Make sure that the screws of the Ligature are loose.

3.) Moisten the Reed by placing the front of the Reed

on your tongue and holding it in your mouth for a few moments. Moisten the Reed till the tip of the Reed is perfectly flat.

4.) Holding the Reed between your index finger and thumb, slide the Reed onto the front of the Mouthpiece underneath the Ligature.

19


5.) Position the Reed on the Mouthpiece, such that the Reed is centered over the opening in the Mouthpiece and the tip of the Reed is just slightly lower than the tip of the Mouthpiece.

6.) Position the Ligature over the thick end of the positioned Reed and tighten the Ligature by rotating its screws in a clockwise manner. Do not tighten the screws too much.

20

STEPS TO ASSEMBLE MOUTHPIECE AND REED:

• Gather the Mouthpiece, Ligature, and Reed

• Slide Ligature onto Mouthpiece

• Moisten the Reed

• Slide the Reed onto the Mouthpiece

• Position the Reed on the Mouthpiece so tip is slightly lower than tip of Mouthpiece

• Tighten the screws on the Ligature

Assembled Mouthpiece and Reed


ASSEMBLING THE BELL, LOWER JOINT, UPPER JOINT AND BARREL

Before you put your clarinet together, remember the following things:

NEVER force parts together! ALWAYS make sure the parts have

a tight fit. AVOID grasping the keywork. NEVER rotate the parts in a

sporadic manner. This WILL damage the cork!

To assemble the Bell, Lower Joint, Upper Joint and Barrel, follow the steps listed below:

1.) Remove the Bell, Lower Joint, Upper Joint, and

Barrel from the clarinet case.

2.) With the Lower Joint in one hand and the Bell in your other hand, attach the Bell to the Lower Joint by smoothly rotating the Bell while pressing the two parts together.

21


3.) With the Upper Joint in one hand and the Barrel in your other hand, attach the Barrel to the Upper Joint by smoothly rotating the Barrel while pressing the two parts together.

4.) With the Lower Joint and attached Bell in one hand and the Upper Joint and attached Barrel in your other hand, attach the Lower Joint to the Upper Joint by smoothly rotating the Upper Joint and pressing the two parts together.

It is very important that you grasp the Upper Joint such that the two ring keys on the Upper Joint are pressed down. This ensures that the bridge key is lifted, and prevents any damage to the bridge key during the assembly.

5.) Examine the position of the finger holes and bridge key. The finger holes on the Upper Joint and Lower Joint should be in a straight line, and the bridge key should be above the connecting mechanism on the Lower Joint.

22


Now that you know a bit more about the assembly procedure, you have the information needed to go out and assemble your clarinet.

POSITIONING YOURSELF TO PLAY In almost every instance, you will play the clarinet either sitting down or standing up. Although it seems that this needs no further explanation, it is important to realize that assuming the correct posture while sitting or standing ensures that you do not tire out your body or your lungs while playing the clarinet.


Grasp the clarinet Sit to play the clarinet Stand to play the clarinet

STEPS TO ASSEMBLE BELL, LOWER JOINT, UPPER JOINT, AND BARREL:

• Gather the Bell, Lower Joint, Upper Joint, and Barrel

• Attach Bell to Lower Joint

• Attach Barrel to Upper Joint

• Attach Lower Joint with attach Bell to Upper Joint with attached Barrel

23


GRASPING THE CLARINET

Whether you are sitting or standing while playing the clarinet, you will have the instrument in your hands. Properly holding the clarinet is the first step in laying the foundation to developing a smooth playing technique while playing the clarinet. To grasp the clarinet, follow these steps:

1.) With your right hand, grasp the Lower Joint of the clarinet, such that your right thumb is positioned under the thumb rest, your index, middle and ring finger are positioned over the finger holes, and your pinky hovers over the set of four keys at the bottom right of the Lower Joint.

2.) With your left hand, grasp the Upper Joint of the clarinet, such that your left thumb is positioned over the register key and hole, your index, middle and ring finger are positioned over the finger holes, and your pinky is over the set of three keys at the top left of the Lower Joint.

STEPS TO GRASPING THE CLARINET:

• Grasp Lower Joint with your right hand

• Grasp Upper Joint with your left hand

24


SITTING TO PLAY THE CLARINET

In most cases, you will play the instrument while seated. Assuming the correct sitting posture ensures that you do not tire out your body and lungs and further enhances your ability to play the clarinet. To assume the sitting posture to play the clarinet, follow the steps listed below:

1.) While grasping the clarinet, sit at the edge of your seat with your back upright. Ensure that you are not resting against the back of your seat.

2.) Plant your feet firmly on the floor at a comfortable distance from the seat. The soles of your feet should lie flat.

3.) Ensure that the Bell of the clarinet is between your knees.

4.) Tuck your elbows comfortably by the sides of your torso. They should not flare outward.

STEPS TO SITTING TO PLAY THE CLARINET:

• Sit at the edge of your seat, with your back upright

• Plant your feet firmly on the ground

• Ensure that the Bell is between your knees

• Tuck in your elbows by the side of your torso

25


STANDING TO PLAY THE CLARINET

In some instances, you will play the instrument while standing. Assuming the correct posture while standing to play the clarinet ensures that will not tire out your body and lungs. To assume the standing posture to play the clarinet, follow the steps listed below:

1.) While grasping the clarinet, stand with your back upright.

2.) Plant your feet firmly on the floor, with the soles of your feet lying flat.

3.) Ensure that the Bell of the clarinet is between your knees.

4.) Place your elbows comfortably by the sides of your torso. Your elbows should be tucked in and not flaring outward.

STEPS TO STANDING TO PLAY THE CLARINET:

• Stand with your back upright

• Plant your feet firmly on the ground

• Tuck in your elbows by the side of your torso

26


PRODUCING SOUND WITH THE CLARINET Considered by many to be the most difficult and the most frustrating, producing sound with the clarinet involves the interplay of two complex actions. These actions include forming the embouchure, and blowing air into the clarinet. Each of these actions is crucial to producing sound with the clarinet, and the inability to correctly perform any one of these actions will result in you not being able to produce sound with the clarinet.

FORMING THE EMBOUCHURE

The embouchure, pronounced ahm-boo-shoor, is defined as the use and shaping of the facial muscles and lips to the mouthpiece of an instrument in order to produce sound. The clarinet has a single embouchure, although variations exist. The clarinet embouchure involves the muscles your lips, jaw, cheeks and chin. To form the clarinet embouchure, there are two steps you must follow: 1.) Stretch your lower lip firmly over the ridge of your lower teeth, as if you were applying Chap-stick.

2.) Point your chin, by pulling your chin downward while having your lower lip stretched firmly over the ridge of your lower teeth.


Form the embouchure Blow air into the clarinet

27


3.) Holding your head upright, with your lower lip stretched over the ridge of your lower teeth and with your chin pulled downward, place a quarter to a half inch of the assembled Mouthpiece and Reed in your mouth, with the Reed on your lower lip.

4.) Gently bite down on the assembled Mouthpiece and

Reed using your upper teeth.

5.) Seal the space around the assembled Mouthpiece and Reed by firmly drawing your upper and lower lip around the assembled Mouthpiece and Reed, such that air can only blow into the assembled Mouthpiece and Reed.

6.) The corners of your mouth should be turned upward

slightly, without laterally stretching the mouth.

7.) Clench your cheeks, as if you were trying to cool down a cup of hot coffee.

STEPS TO FORMING THE EMBOUCHURE:

1. Stretch your lower lip over your lower teeth

2. Point your chin 3. Place Mouthpiece and Reed in your

mouth 4. Gently bite down on Mouthpiece and

Reed 5. Seal space around Mouthpiece and Reed 6. Slightly turn the corners of your mouth

upward 7. Clench your cheeks

28


BLOWING AIR INTO THE CLARINET Blowing air into the clarinet is a relatively simple task if you can correctly form the embouchure. You blow air into the clarinet through the gap between the Mouthpiece and the Reed. While blowing air into the clarinet, remember the following things: NEVER touch the Reed with your teeth!

AVOID touching the Reed with your tongue!

DO NOT open your mouth to inhale!

To blow air into the clarinet, it is important to do the following:

1.) With the embouchure formed and the assembled Mouthpiece and Reed placed in your mouth, blow a steady stream of air into the gap between Mouthpiece and Reed.

2.) Inhale through your nose or using only the corners of your mouth.

STEPS TO BLOWING AIR INTO THE CLARINET:

1. Blow a steady stream of air into the gap between the Mouthpiece and

Reed

2. Inhale through your nose or using the corners of your mouth

29


TONGUING THE REED Playing music on the clarinet will without doubt involve phrases of short notes. To accomplish this, you will tongue the Reed. This stops the vibration of the Reed and subsequently the production of sound. You do not stop blowing into the instrument to play phrases of short notes. While producing sound with the clarinet, say ‘Ta’. This will push your tongue up against the Reed and stop sound production.

PRACTICE: Take a few moments to practice saying ‘Ta.’ Make sure that your teeth are slightly apart, and that the tip of your tongue is hitting the space in between your upper and lower teeth.

Now that you know a bit more about the standing and sitting positions, forming the embouchure, blowing air into the clarinet and tonguing the reed, you have the information needed to produce sound with the clarinet.

STEPS TO TONGUING THE REED:

• Say ‘Ta’ into the clarinet while producing sound

30



1.) List the steps, in order, to assemble the parts of the clarinet.

2.) When assembling the Mouthpiece and the Reed, what are the two items that you must consider?

3.) List the steps, in order, to assemble the body of the clarinet.

31



4.) What are the two ways you can position yourself to play the clarinet?

5.) When grasping the clarinet, where is your left hand, and where is your right hand?

Circle the correct answer.

6.) Before performing with the clarinet you will always determine whether to:

_ Sit or stand to play.

_ Disassemble the clarinet.

_ Grease the cork.

32



7.) What are the four points you must complete when sitting to play the clarinet?

8.) What are the three points you must complete when standing to play the clarinet?

9.) What are the two things you must do in order to produce sound from the clarinet?

10.) When tonguing the reed of the clarinet, what sound do you say into the Mouthpiece?

33



1.) Describe the phases and steps in the assembly of the clarinet. (See “Assembling the Clarinet”)

Attach Bell to Lower Joint. Attach Lower Joint to Upper Joint. Attach Barrel to Upper Joint. Attach Mouthpiece to Barrel. Attach Reed to Mouthpiece. 2.) When assembling the Mouthpiece and the Reed, what are the two items that you must consider?

(See “Assembling the Mouthpiece and Reed”) The Reed is moist. Reed must be high enough to cover the hole in the Mouthpiece, but low enough to allow the Reed to vibrate

during play.

3.) List the steps, in order, to assemble the body of the clarinet. (See “Assembling the Bell, Lower Joint, Upper Joint and Barrel”)

Attaching the Bell to the Lower Joint. Attaching the Barrel to the Upper Joint. Attaching the Lower Joint with attached Bell to the Upper Joint with attached Barrel.

34


CHAPTER 2 SELF-ASSESSMENT (ANSWER KEY) 4.) What are the two ways you can position yourself to play the clarinet?

(See “Positioning Yourself to Play”) Sitting. Standing.

5.) When grasping the clarinet, where is your left hand, and where is your right hand?

(See “Grasping the Clarinet”) Around the Upper Joint with your thumb resting on the Octave key Around the Lower Joint with your thumb resting under the thumb-rest

6.) Before performing with the clarinet you will always determine whether to …? (See “Positioning Yourself to Play”)

_ Sit or stand to play.

35



7.) What are the four points you must complete when sitting to play the clarinet? (See “Sitting to Play the Clarinet”)

Sitting on the edge of the seat with your back upright. Planting feet firmly on the floor. Ensuring that the Bell is between your knees. Having your elbows tucked in by your torso.

8.) What are the three points you must complete when standing to play the clarinet? (See “Standing to Play the Clarinet”)

Standing with your back upright. Planting your feet firmly on the floor. Having your elbows tucked in by your torso.

9.) What are the two things you must do in order to produce sound from the clarinet? (See “Producing Sound With the Clarinet”)

Correctly form the clarinet embouchure. Blow air into the clarinet.

36



10.) When tonguing the reed of the clarinet, what sound do you say into the Mouthpiece? (See “Tonguing the Reed”)

‘Ta’


37


READING MUSIC


Read Music - Identify Parts of the Staff - Identify Note and Rest Values - Name Notes on the Staff - Identify Flats, Sharps and Naturals - Identify Slurs, Staccatos and Repeats - Identify Tempo and Dynamics

38


READING MUSIC BEFORE YOU BEGIN… The ability to read music is a crucial skill for you to have when you are learning how to play any musical instrument. You will find that learning how to read music is a lot like learning how to read a book. It involves being able to see a symbol on a page and translating into a physical interaction with the clarinet.

In this chapter, we will learn the basics of reading musical notation. You will then be able to find and read sheet music for songs that you might like to play on the clarinet.

39


Identify the parts of the Staff Identify Note Values Identify Rest Values Name Notes on the Staff Identify Flats, Sharps and

Naturals Identify Slurs and Staccatos Identify Repeats Identify Tempo and Dynamics


THE PARTS OF THE STAFF THE STAFF Musical symbols are written on a staff. The staff is made

up of five horizontal lines and four spaces, each representing a single note. When playing the clarinet, you will read the symbols from right to left. There are a few different types of staffs. Each staff refers to a specific range of notes, either low or high, that can be played by various instruments.

THE TREBLE CLEF When playing the clarinet, you will use a Treble Staff. The treble staff is used for high notes. It is marked with a symbol called the Treble Clef. The treble clef is also called

the G-Clef because the tail of it curls around the staff line that marks the G note. MEASURES The staff is broken down into smaller units called measures by a vertical line known as the bar line. Measures divide a song into segments where each segment contains a set number of beats.

Songs are made up of multiple measures. A double bar line at the end of the staff signals to you that you have reached the end of the song or musical phrase.

40

Staff

Treble Clef


As we said earlier, measures divide a song into segments with each segment containing a set number of beats. You may be wondering how many beats are in each measure. The answer depends on the music that you are playing. THE TIME SIGNATURE Each song has something called a Time Signature. A time signature is a symbol that has two purposes:

To specify the number of beats per measure.

To specify which notes gets only one beat.

The time signature sits on the staff, after the treble clef, at the beginning of a piece of music. Simple time signatures look like fractions:

41

We will explain the second purpose of the time signature later in this chapter. For now, we will focus on how the time signature tells you how many beats are in each measure of a song.

Time Signature


The number on top, the “numerator,” is the number of beats in each measure of the song.

The most widely used time signature is . In fact, it is called Common Time and sometimes appears as a on the music staff instead of .

The staff, measures, treble clef and time signature are the very basic elements of sheet music. Together, they form the page upon which the rest of the music is written.

42

Example: If you have a time signature, then there are 4 beats in each measure of the song.

If you have a time signature, then there are 6 beats in each measure.

THE TREBLE STAFF:

• Is composed of five horizontal lines and four spaces

• Contains Measures • Is marked by a Treble Staff • Has a Time Signature


NOTES Earlier we spoke about the time signature and how it is used to divide lines of the staff into measures based on a set number of beats. In order to fully understand this, you need to know what a beat is. A beat is the “pulse” of a song. Much like your own heartbeat, it is what we use to keep rhythm. When you clap your hands, you create a beat each time the palm of your hands meet.

Now that we understand what a beat is, we can discuss the second purpose of the time signature. The bottom number in the time signature fraction tells you what note receives one beat. When the number is 4, it means that a quarter note is one beat long. In Common Time, also known as the 4/4 time signature, the rhythm of a song matches the second hand of a clock. Each second is one beat long. Find a clock with a second hand and try to clap a 4/4 beat. The key here is to keep it a steady beat.

43

The second purpose of the time signature is to tell you which note receives one beat.


THE WHOLE NOTE The first note that we will look at is the Whole Note. The whole note is represented in musical notation by a hollow oval.

It is held for a count of four beats. When you are clapping, you must clap on the first beat but, instead of clapping again on the second, you would leave your palms together for the remaining three beats. Thinking back to Chapter 2, for a whole note, you will tongue the clarinet only on the first beat, and blow into the instrument continuously for a count of four.

THE HALF NOTE The next note you need to know about is the Half Note. It works exactly as its name suggests: the half note is held for half of the number of beats that the whole note is held for. It is held for a count of two beats.


- Identify Whole Notes - Identify Half Notes - Identify Quarter Notes - Identify Eighth Notes

Whole Note

44


Visually, the half note looks similar to the whole note. It consists of a hollow oval with a stem attached. Depending on where the half note sits on the staff, the stem will be pointed up or down. If the note sits below the third or middle line on the staff, then the stem will be on the right side of the oval and point up. If the note is on or above the third staff line, the stem sits on the left side of the oval and points downward.

The half note is held for a count of two beats. When you are clapping, you must clap on the first beat but, instead of clapping again on the second, you would leave your palms together for the remaining beat. Thinking back to Chapter 2, on a half note, you will tongue the clarinet only on the first beat, and blow into the instrument continuously for a count of two.

45

Half Notes


THE QUARTER NOTE Another note used in musical notation is the Quarter Note. Just like the half note, which is ½ the value of the whole note, the quarter note is one quarter or ¼ of the value of the whole note. This means that the quarter note is held for one beat. The quarter note looks similar to the half note. It consists of an oval and a stem, but it is different from the half note because the oval is not hollow. Instead, it is filled solid.

The stems follow the same rules as with the half note. Depending on where the note sits on the staff, the stem will be pointed up or down. If the note sits below the third or middle line on the staff, then the stem will be on the right side of the oval and point up. If the note is on or above the third staff line, the stem sits on the left side of the oval and points downward.

Because the quarter note equals one beat, there is no need to worry about how many additional beats to hold the sound for after tonguing the clarinet.

46

Quarter Notes


THE EIGHTH NOTE The last note that we will look at is the Eighth Note. The eighth note is one-eighth the value of the whole note. This means that the quarter note is held for half of a beat. The flag on the eighth note points away from the note itself. When two eighth notes appear together in a measure, one right after another, their flags are joined together.

The stems follow the same rules as with the half note. Depending on where the note sits on the staff, the stem will be pointed up or down. If the note sits below the third or middle line on the staff, then the stem will be on the right side of the oval and point up. If the note is on or above the third staff line, the stem sits on the left side of the oval and points downward.

THE DOTTED NOTE

When a dot is added after a note, it increases the value of a note by ½ of its original value. For example: = 6 beats = 3 beats

Eighth Notes

Although it sounds nearly impossible, you will find that holding an eighth note for half a beat is really very simple.

The eighth note looks similar to the quarter note. It also consists of a solid-filled oval and stem, but also has a flag attached to it.

47


RESTS Notes tell you when and how long to play your clarinet for. Rests do the opposite. They let you tell you when to take breaks from playing. Just like notes, there are different rests with different rest values.

THE WHOLE REST In musical notation, just as there is a whole note, there is a Whole Rest. The whole rest tells you to take a break from playing (or rest) for a count of four beats. The whole rest looks like an upside down top hat:


Identify Whole Rests Identify Half Rests Identify Quarter Rests Name Eighth Rests

48

THE NOTE VALUES:

- Whole Note: Held for four beats.

- Half Note: Held for two beats.

- Quarter Note: Held for one beat.

- Eighth Note: Held for half of a beat.


It sits underneath the fourth line of the music staff, looking like this:

THE HALF REST

THE HALF REST The Half Rest is a rest that tells you to pause from playing for a count of two beats. Its value is half of the value of the whole rest. The shape of the half rest is similar to that of the whole rest. It looks like a top hat turned right side up: It sits above the third line of the staff:

THE QUARTER REST

The Quarter Rest makes you take a break for one beat. It has a value that is one quarter of the value of the whole rest. It looks like this:

49


The quarter rest sits on the three middle lines in the music staff, like this:

THE EIGHTH REST

The Eighth Rest is a rest that tells you to pause from playing for a count of half of a beat. Its value is one-eighth of the value of the whole rest. The eighth note looks like this:

It sits in between the second and fourth lines on the music staff, like this:

50

THE REST VALUES:

• Whole Rest: Held for 4 beats

• Half Rest: Held for 2 beats

• Quarter Rest: Held for 1 beat

• Eighth Rest: Held for ½ beat


NOTE NAMES You have already learned about about note values, or how many beats each note is worth. Now we will show you how placement of these notes on the staff translate into which key or lever you will play on the instrument. In music today, notes are given one of seven names which relate to the beginning letters of the alphabet: A, B, C, D, E, F and G. Lines and spaces on the staff each correspond with one of these note names. If you play the notes in order from A to G, then you would restart with A again, but at a higher pitch. Eight notes in a row are referred to as an Octave.

The lines on the treble staff, beginning from the bottom and moving upward, are marked E, G, B, D and F. This might be easier for you to remember with the phrase “Every Good Boy Does Fine” or “Every Good Boy Deserves Fudge.”


Name the notes on the staff

51


The spaces in between the lines on the treble staff, starting from the bottom and moving upward, are marked F, A, C and E. This might be easier if you think of the word “FACE”. Not all of the notes that a clarinet plays can be found on the staff. The clarinet reaches lower and higher notes than what can be written on the staff. It is for this reason that Ledger Lines are used. Ledger lines are smaller lines that are written above or below the lines of the staff to accommodate the notes that do not fit on the staff. They correspond with the lines of the staff and act as though they are an extension of it.

The notes on the ledger lines follow the same order as the notes on the staff.

52

NOTE NAMES:

• Lines of the Staff “Every Good Boy Does Fine”

• Spaces of the Staff “FACE”

• Ledger Lines


FLATS, SHARPS AND NATURALS NATURALS The pitch of a note refers to how high or low the sound is. The distance between to pitches is measured in half steps and whole steps. Most notes are a whole step apart, although there are some that are only a half step apart. The notes you learned about in the previous section are called Naturals. These are notes that are neither flat nor sharp.

FLATS Notes that are a half step lower than a natural note are called Flat. In sheet music, a note is marked flat by the use of a symbol that looks like a lowercase b. This symbol can either appear in a key signature at the beginning of the music staff or, if the note only appears once or twice in a song, right before the flat note in the music.

The Key Signature is notation at the beginning of the staff that lists the Flats and Sharps that are used throughout a song.

53


Identify Natural Notes Identify Flat Notes Identify Sharp Notes


Example of Flats in the Key Signature When a note is marked Flat in the Key Signature, then you will always play the Flat of the note instead of the natural. In the above example, you would play all B notes and all E notes as B-Flat and E-Flat throughout the song.

Example of a note marked Flat during the song When a note is marked with a Flat symbol right before the note, then that note is played as a flat for only that measure of the song.

SHARPS Notes that are a half step higher than a natural note are called Sharp. In sheet music, a note is marked sharp by the use of a symbol that looks like a hash mark or pound sign. This symbol can either appear in a key signature at the beginning of the music staff or, if the note only appears once or twice in a song, right before the sharp note in the music.

54


Example of Sharps in the Key Signature When a note is marked Sharp in the Key Signature, then you will always play the Sharp of the note instead of the natural. In the above example, you would play all F notes and all C notes as F-Sharp and C-Sharp throughout the song.

Example of Sharps Before a Note When a note is marked with a Sharp symbol right before the note, you will play the note as a sharp for only that measure of the song.

Sometimes a note that was marked flat or sharp in the key signature needs to be played as a natural once or twice during the song. The note will have

the Natural Symbol, or before it.

55


SLURS AND STACCATO

By now, you have an idea of how to read musical notes and rests. Now we will work on learning how to interpret some of the variations of the way that notes can be played. These give music its depth and emotion. If you are not able to interpret these when you play the clarinet, then your music will be a lot like food made without any seasoning. You can eat it, but it will not be as tasty and flavorful as it would be if you added some spices.

We begin by talking about two such variations in music: slurs and the staccato.

SLURS

A slur is a symbol in musical notation that indicates to you that the notes contained within it must be played fluidly and without separation. The meaning of this differs between instruments, but for a clarinet, it means that you must play the notes without tonguing them.

56

FLATS, SHARPS AND NATURALS:

• Flat – Note is played ½ step lower.

• Sharp – Note is played ½ step higher.

• Natural – The natural note is played.

• Key Signature – Notation used at the beginning of the staff to let you know what flats and sharps are used.


Identify a slur Identify staccato


The slur looks like a curved line placed over or under the notes. The line is placed over the notes if the stems of the notes point downward:

The curved line is placed under the notes if the stems of the notes point upward:

STACCATO Staccato is different from the slur. Staccato is a symbol that indicates to you to play the notes as though they were separate, disjointed sounds. Unlike slurred notes, staccato notes are not fluid. They are usually short, fast bursts. You will know that a note is staccato if you see a dot over the note, like this:

57


REPEATS

When you play a song that has verses or repeated musical phrases, it makes little sense to repeatedly write the same lines of music over and over again. Instead, there are symbols that tell you to repeat whole songs or verses, or repeat a few measures of a song. We will take a look at one of these types of symbols.

A repeat sign is used in music to let you know that a measure or series of measures are to be played again. It looks like two dots before a double bar line at the end of a measure:

The point that you will repeat from will have an inverted repeat sign that looks like this:

SLURS AND STACCATO:

• Slur indicates notes must be played fluidly and without separation. They are played on a clarinet by not tonguing the notes.

• Staccato indicates notes must be played short and fast.

58


Identify repeats


If there is no inverted repeat sign, then the song is played again from the beginning.

Musical Phrase With Repeats

TEMPO AND DYNAMICS

There are two more musical variations that are very important to know when playing music. They help to set the mood of any piece you are performing. In this section, you will take a look at how tempo and volume are displayed in musical notation.

REPEATS:

• The repeat sits at the end of the song or musical phrase you want to repeat.

• The inverted repeat sits at the beginning of the measure you want to start repeating from.

59


TEMPO Tempo is the speed at which music is played. It is extremely crucial during the performance of any piece of music. The tempo affects the mood of the music, as well as the difficulty of it. Usually the tempo of a piece of music is indicated by one or more words at the start of the piece. Most of the words used to describe the tempo are in Italian. This is because tempo indications were first used extensively in the 17th century, when many of the important composers

were Italian. Although there are numerous words to describe tempo, two of the most common are Adagio and Allegro. Adagio is used for music that is to be played slowly and restfully. Allegro is used when a song is supposed to be fast and lively. The word to describe the tempo is written above the first measure of the musical piece.


Identify Tempo Identify Dynamics

60


DYNAMICS

The volume of a musical piece is referred to as the Dynamics of a piece. There are two basic dynamic descriptions that are used in music – Piano and Forte. Piano means that the music must be played softly; Forte means that it must be played loudly. The dynamic is marked underneath the staff lines using letters. For piano, a lowercase p is used: For forte, a lowercase f is used: The dynamic of a piece of music tends to fluctuate during the song. In this case, hairpin-like symbols are used in conjunction with the piano and forte symbols to signify the increase and decrease in volume. Increasing volume: Decreasing volume:

61

Music begins loud and gradually increases in volume until the A note.

Music begins soft and begins to gradually decrease during the whole C note at the end.

TEMPO AND DYNAMICS:

• Adagio – Played slow and restful

• Allegro – Played fast and lively

• Piano – Played softly

• Forte – Played loudly

• Gradually increasing volume

• Gradually decreasing volume


A musician spends many years learning all of the symbols used in musical notation. There are literally thousands of symbols. By completing this chapter, you have learned a large number of symbols; enough to get you started on your journey to learn to play the clarinet.

By combining your knowledge of these symbols with the other skills you acquire as you complete this manual, you will be able to play beautiful music on the clarinet.

It is important, however, to remember to practice reading music. The more you work at it, the faster you will be able to read and translate the symbols, resulting in a smoother performance with your clarinet. It is also very important to your performance to continue learning about musical notation. The internet can be a great resource for learning the meaning of new musical symbols.

62


CHAPTER 3 SELF-ASSESSMENT Circle the answer to the question. Select all that apply. Do not refer to the chapter.

1.) Which of these are not symbol types used in musical notation? a.) Staff b.) Notes c.) Rests d.) Tables e.) Springs

Write your answer in the space provided.

2.) Match the term with the corresponding symbol.

_ Staff

_ Treble Clef

_ Measure

_ Time Signature

a.)

b.)

c.)

d.)

63



Write your answers in the spaces provided.

3.) Name the following notes: a.) ________________

b.) _________________

c.) _________________

d.) _________________

4.) Name the following rests: e.) ________________

f.) _________________

g.) _________________

h.) _________________

Label the part of the picture that corresponds with the answer.

5.) Label the notes on the staff. ___ ___ ___ ___ ___

6.) Label the notes on the staff. ___ ___ ___ ___

64



Write your answers in the spaces provided.

7.) Match the term with the corresponding symbol.

_ Flat

_ Natural

_ Sharp

_ Repeat

_ Staccato

_ Slur

a.)

b.)

c.)

d.)

e.)

f.)

8.) Match the Italian term with its corresponding English translation.

_ Adagio a.) Soft

_ Forte b.) Fast and lively

_ Piano c.) Loud

_ Allegro d.) Slow and relaxed

65



66

(See “Reading Music”)

(See “The Parts of the Staff”)



67

(See “Notes”)

(See “Rests”)

(See “Note Names”)

(See “Note Names”)




68

(See “Reading Music”)

(See “Tempo and Dynamics”)

Into Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING THE NOTES


Finger Notes - Finger Left Hand Notes - Finger Left Hand and Right Hand Notes - Finger Left Hand and Right Hand Notes with the

Octave Key - Finger Flats

69


FINGERING THE NOTES To play the clarinet, you must not only be able to produce sound with the instrument, but also be able to manipulate the pitch of the sound being produced by the clarinet. Fingering is defined as the operation of the numerous holes and keys of the instrument by the use of your fingers.

Using the convention defined in the box on the left, the Register hole and its attached ring key on the back of the Upper Joint is designated LTH. The Register Key on the back of the Upper Joint is designated LTK. The six finger holes and their attached ring keys, starting from the top of the Upper Joint to the bottom of the Lower Joint, are designated LIH, LMH, LRH, RIH, RMH, and RRH. The set of four keys on the bottom-right of the Upper Joint are designated RIK1, RIK2, RIK3, and RIK4. The set of three keys on the top-left of the Lower Joint are designated LPK1, LPK2, and LPK3. The set of four keys at the bottom-right of the Lower Joint are designated RPK1, RPK2, RPK3, and RPK4. The vertical key on the front of the Upper Joint just above the uppermost finger hole (LIH) is designated LIK.

• 1st character: Uses a letter. Defines whether the left-hand or the right-hand is being used. Includes L for the left-hand and R for the right-hand.

• 2nd character: Uses a letter. Defines which finger is being used. Includes T for the thumb, I for the index finger, M for the middle finger, R for the ring finger and P for the pinky finger.

• 3rd character: Uses a letter. Defines whether a hole is being closed or a key is being pressed. Includes H for holes and K for keys

• 4th character: Uses a number. Defines an individual key in a set of keys operated by the same finger. Includes 1, 2, 3 and 4

70


FINGERING LEFT-HAND NATURALS The left-hand of the clarinetist is used to finger naturals which include Middle C, D, E, F, G, and A. All of these naturals are fingered on the Upper Joint of the clarinet. The table below describes the fingering and provides the fingering chart for each of the above mentioned naturals:

Middle C: Close LTH, LIH, LMH and LRH.

D: Close LTH, LIH and LMH.

E: Close LTH and LIH.

71


FINGERING LEFT-HAND NATURALS F: Close LTH.

G: No hole or key operated.

A: Press LIK.

Fingering Left hand naturals:

• MIDDLE C

• D

• E

• F

• G

• A

72


FINGERING LEFT-HAND AND RIGHT-HAND NATURALS The left-hand and right-hand of the clarinetist is used to finger naturals which include Low F, Low G, Low A and Low B. All of these naturals are fingered on both the Upper Joint and the Lower Joint of the clarinet. The table below describes the fingering and provides the fingering chart for each of the above mentioned naturals:

Low F: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH, and press RPK2.

Low G: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH.

73


FINGERING LEFT-HAND AND RIGHT-HAND NATURALS The left-hand and right-hand of the clarinetist is used to finger naturals which include Low F, Low G, Low A and Low B. All of these naturals are fingered on both the Upper Joint and the Lower Joint of the clarinet. The table below describes the fingering and provides the fingering chart for each of the above mentioned naturals:

• Low F: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH, and press RPK2.

• Low G: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH.


FINGERING LEFT-HAND AND RIGHT HAND NATURALS

Low A: Close LTH, LIH, LMH, LRH, RIH, and RMH.

Low B: Close LTH, LIH, LMH, LRH and RMH.

Fingering Left hand and right hand

naturals:

• LOW F

• LOW G

• LOW A

• LOW B

74


FINGERING LEFT-HAND AND RIGHT-HAND NATURALS WITH THE REGISTER KEY The left-hand and right-hand of the clarinetist, along with the Register key, is used to finger naturals which include B, High C, High D and High E. All of these naturals are fingered on both the Upper Joint and the Lower Joint of the clarinet, while having the Register key pressed. The table below describes the fingering and provides the fingering chart for each of the above mentioned naturals:

B: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH, and press LTK, LPK1 and RPK2.

HIGH C: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH, and press LTK and RPK2.

75


FINGERING LEFT-HAND AND RIGHT-HAND NATURALS WITH REGISTER KEY

HIGH D: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH, and press LTK.

HIGH E: Close LTH, LIH, LMH, LRH, RIH, and RMH, and press LTK.

Fingering Left-Hand and Right-Hand Naturals With Register Key:

• B

• HIGH C

• HIGH D

• HIGH E

76


FINGERING FLATS Your right and left hands, along with the Register key, are used to finger flats, including the Low B-Flat and B-Flat. Low B-Flat is fingered on both the Upper Joint and the Lower Joint of the clarinet, while B-Flat is fingered only on the Upper Joint with the Register key pressed. The table below describes the fingering and provides the fingering chart for both the above mentioned flats:

LOW B FLAT: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH, and press LTK, LPK1 and RPK2.

B FLAT: Press LTK and LIK.

77


FINGERING SHARPS Your left and right hands, along with the Register key, are used to finger flats, including the Low F-Sharp and F-Sharp. Low F-Sharp is fingered on both the Upper Joint and the Lower Joint of the clarinet, while F-Sharp is fingered only on the Upper Joint of the clarinet. The steps below describes the fingering and provides the fingering chart for both the above-mentioned sharps:

LOW F SHARP: Close LTH, LIH, LMH, LRH, RIH, RMH

and RRH, and press RPK3.

F SHARP: Close LIH.

78


CHAPTER 4 SELF-ASSESSMENT This self-assessment activity will test your knowledge and understanding of the subject matter presented in Chapter 4. Answer the questions that follow without referring back to the materials.

1.) What are the six naturals you can play using only your left hand on the clarinet? Draw the naturals on the music staff provided, using whole notes.

2.) What are the fingerings for each of the six naturals that you can play using only your left hand on the clarinet? Shade in the fingering on the diagrams provided.

79


CHAPTER 4 SELF-ASSESSMENT Answer the questions that follow without referring back to the materials.

3.) What are the six naturals you can play using only your left hand on the clarinet? Draw the naturals on the music staff provided, using whole notes.

4.) What are the fingerings for each of the six naturals that you can play using only your left hand on the clarinet? Shade in the fingering on the diagrams provided.



3.) What are the four naturals you can play using your left and right hands on the clarinet? Draw the naturals on the music staff provided, using whole notes.

4.) What are the fingerings for each of the four naturals that you can play using your left and right hands on the clarinet? Shade in the fingering on the diagrams provided.

80



5.) Name the note that each diagram illustrates. Write your answer in the space provided.

___________ ___________

___________ ___________

81




___________ ___________


___________ ___________

82


CHAPTER 4 SELF-ASSESSMENT (ANSWER KEY) This self-assessment activity will test your knowledge and understanding of the subject matter presented in Chapter 4. Answer the questions that follow without referring back to the materials.

1.) What are the six naturals you can play using only your left hand on the clarinet? Draw the naturals on the music staff provided, using whole notes. (See “Fingering Left Hand Naturals”)

2.) What are the fingerings for each of the six naturals that you can play using only your left hand on the clarinet? Shade in the fingering on the diagrams provided. (See “Fingering Left Hand Naturals”)

83


CHAPTER 4 SELF-ASSESSMENT (CONTINUED) (ANSWER KEY)

3.) What are the four naturals you can play using your left and right hands on the clarinet? Draw the naturals on the music staff provided, using whole notes.(See “Fingering Left-Hand and Right-Hand Naturals”)

4.) What are the fingerings for each of the four naturals that you can play using your left and right hands on the clarinet? Shade in the fingering on the diagrams provided. (See “Fingering Left-Hand and Right-Hand Naturals”)

84



5.) Name the note that each diagram illustrates. Write your answer in the space provided. (See “Fingering Left-Hand and Right-Hand Naturals With Register Key”)

B High D

High E High C

85



6.) Name the note that each diagram illustrates. (See “Fingering Flats”)

Low B-Flat B-Flat

7.) Name the note that each diagram illustrates. (See “Fingering Sharps”)

Low F-Sharp F-Sharp


.

86


PLAYING SCALES


Play Scales - Play the B-Flat Major Scale for Clarinet - Play the E-Flat Major Scale for Clarinet

87


PLAYING SCALES

BEFORE YOU BEGIN… In the previous chapters, you’ve learned quite a few new skills. So far you’ve worked on learning how to: Position yourself to play clarinet. Read musical notation. Finger notes on the clarinet. Now it is the time to begin to put all of these skills together as we work towards your ultimate goal of learning how to play the clarinet. Before jumping right into playing songs, it is important to first make sure that you are able to maintain a steady sound from the instrument, as well as that you are practiced in using your fingers to move quickly and smoothly from one note to another. In this chapter, you will learn one of the best techniques to accomplish this – practicing scales.

SCALES A scale is a group of musical notes in an ascending or descending order. A Major scale has seven distinct notes, plus an additional note which duplicates the first one an octave higher than the first.

88


Play the B-Flat Major Scale Play the E-Flat Major Scale


THE B-FLAT MAJOR SCALE The B-Flat Major Scale is the easiest scale to remember for the clarinet. Beginning from the middle C and ascending upward towards the high C note, it contains no sharp or flat notes. Written in musical notation, the B-Flat major scale for the clarinet looks like this:

The B-Flat major scale also gives you an opportunity to practice changing fingering from the A note to the B note, using the octave key. This ability, to move from the middle A to the B natural, is a skill called “crossing the bridge.” This is a skill that comes from lots of practice, so do not be discouraged if it takes a few tries to make the smooth transition from one note to another.

89

The clarinet is a B-flat transposing instrument. This means that the clarinet’s C note is the same as a B-flat note on an instrument such as the piano. For this reason, the B-Flat Major scale for clarinet is exactly the same as the C-Major scale for piano.


THE FINGERING CHART FOR THE B-FLAT MAJOR SCALE:

90


PRACTICE:

Position yourself to play your clarinet. Play through each line of the scale repeatedly until you feel confident with your ability to reach and maintain a steady note, as well as your ability to move your fingers comfortably from one note to another. If necessary, refer to the Fingering Chart in Chapter 4.

91


THE E-FLAT MAJOR SCALE The E-Flat Major Scale is another scale to remember for the clarinet. Beginning from the low F and ascending upward towards the middle F note, it contains one flat note, a low B-flat. Written in musical notation, the E-Flat major scale for the clarinet looks like this:

Playing the E-Flat major scale gives you an opportunity to practice maintaining steady sound in the lower octave of the instrument.

Remember that the clarinet is a B-flat transposing instrument. For this reason, the E-Flat Major scale for clarinet is exactly the same as the F-Major scale for piano.

92


THE FINGERING CHART FOR THE E-FLAT MAJOR SCALE:

93


PRACTICE:

Position yourself to play your clarinet. Play through each line of the scale repeatedly until you feel confident with your ability to reach and maintain a steady note, as well as your ability to move your fingers comfortably from one note to another. If necessary, refer to the Fingering Chart on the previous page.

94


CHAPTER 5 SELF-ASSESSMENT Write your answers in the spaces provided.

1.) How many flats and/or sharps are in the B-Flat Major Scale for clarinet?

2.) How many flats and/or sharps are in the E-Flat Major scale for clarinet?

3.) What are the eight ascending notes in the B-Flat Major Scale for clarinet?

4.) What are the eight ascending notes in the E-Flat Major Scale for clarinet?

95



Fill in the circles of the diagrams to correspond with the answers.

5.) Draw the whole notes in each staff box for each of the notes in the ascending B-Flat Major Scale for clarinet. Fill in the circles that correspond with the fingerings for each note.

96




6.) Draw the whole notes in each staff box for each of the notes in the ascending E-Flat Major Scale for clarinet. Fill in the circles that correspond with the fingerings for each note.

97


CHAPTER 5 SELF-ASSESSMENT (ANSWER KEY) Write your answers in the spaces provided.

1.) How man flats and/or sharps are in the B-Flat Major Scale for clarinet? (See “The B-Flat Major Scale”)

NONE

2.) How many flats and/or sharps are in the E-Flat Major scale for clarinet? (See “The E-Flat Major Scale”) ONE. The E-Flat Major Scale For Clarinet has a B-flat.

3.) What are the eight ascending notes in the B-Flat Major Scale for clarinet? (See “The B-Flat Major Scale”)

Mid: C, D, E, F, G, A, B, High: C

4.) What are the eight ascending notes in the E-Flat Major Scale for clarinet? (See “The E-Flat Major Scale”)

Low: F, G, A, B-flat, Mid: C, D, E, F

98




5.) Draw the whole notes in each staff box for each of the notes in the ascending B-Flat Major Scale for clarinet. Fill in the circles that correspond with the fingerings for each note. (See “The B-Flat Major Scale”)

99




6.) Draw the whole notes in each staff box for each of the notes in the ascending E-Flat Major Scale for clarinet. Fill in the circles that correspond with the fingerings for each note.

(See “The E-Flat Major Scale”)

100



PLAYING SONGS


Play Songs - Play “Twinkle Twinkle Little Star” - Play “Mary Had a Little Lamb” - Play “Happy Birthday”

101


PLAYING SONGS

BEFORE YOU BEGIN… You’ve done it! So far, you have mastered the preliminary tasks required in order for you to play songs on your clarinet. Although you should be very proud of yourself for having made it to this point, there are things that you can do to improve the quality of your musical performance. In this chapter, we will take a look at three songs for you to work on to be able to play for your family and friends.

NEVER play your clarinet with food or

candy in your mouth! This will not only cause a problem with your playing, but could also be a choking hazard!

TWINKLE TWINKLE LITTLE STAR The first song that we will look at is “Twinkle Twinkle Little Star.” Notice that there are no flats or sharps in the key signature, and none throughout the song. The lack of a time signature lets you know that this is to be played in Common Time, or 4/4.

PRACTICE: Position yourself to play your clarinet using the steps you learned in Chapter 2. You should practice playing the song on the next page several times until you feel confident with it.

102


Play “Twinkle Twinkle Little Star” Play “Mary Had a Little Lamb” Play “Happy Birthday”


103


MARY HAD A LITTLE LAMB

Next let us look at the song “Mary Had a Little Lamb.” Notice that it contains an F-Sharp in the Key Signature. When beginning to play an instrument, it is a good idea to notice what notes are flat or sharp by looking first at the key signature.

Mark or circle these notes throughout the song so that you may recognize them while you play.

104

TIPS FOR DEALING WITH PERFORMANCE ANXIETY:

It is not uncommon to experience “jitters” when performing in front of other people. In fact, some of the most experienced musicians suffer from some sort of anxiety or nervousness before every performance. Here are a couple of ways you can combat your own stage fright:

Before rushing into a performance, take a moment to take a few deep breaths to create a calm feeling within you.

Focus on the music you are playing instead of on the people around you.

Don’t be afraid to make mistakes; your audience is not keeping count. Remember that you are your own worst critic.

PRACTICE, PRACTICE, PRACTICE! The more you practice a piece, the more confident you will feel about it. That confidence will show when you are playing for an audience.

“Mary Had a Little Lamb” was based on a girl named Mary Sawyer from Sterling, Massachusetts. Mary kept a pet lamb and brought it to school one day at the suggestion of her brother, causing a commotion throughout the school and inspiring this classi children’s song.


105

PRACTICE:

Position yourself to play your clarinet using the steps you learned in Chapter 2. You should practice playing this song several times until you feel confident with it.


HAPPY BIRTHDAY The third song that you will work on is “Happy Birthday.” There are two things to notice with this song. First of all, it has an F-sharp in the key signature. Feel free to circle or mark all F notes in the piece so that you will remember to play them as F-sharp instead of F-natural. The second thing to notice is that the time signature here states that the song is in 3/4 time. This will not affect your playing. As you learned in Chapter 3, the top number in the time signature tells you how many beats are in each measure. In 3/4 time, there are three beats written in each measure. Since the bottom number, which indicates which note receives one beat, is still 4, the note values are the same as in the 4/4 time signature.

106

TIPS FOR DEALING WITH PLAYING MISTAKES:

It’s inevitable. Mistakes are going to happen from time to time. Instead of stressing out about them, follow these techniques for dealing with performance mistakes as they happen:

Just keep playing. Never stop and start again. Ninety-nine percent of the time your audience does not realize that you made a mistake, but they will notice if you stop and start again.

Focus on the music you are playing instead of on the people around you.

Don’t let one mistake upset you. Keep a calm head. If you let one mistake bother you, you will be more likely to keep making mistakes as you play through a song.

PRACTICE, PRACTICE, PRACTICE! The more you practice a piece, the less are your chances of making mistakes during a performance.

Marilyn Monroe’s performance of “Happy Birthday” to US president John F. Kennedy in May, 1962 is the most famous rendition of the song ever.


PRACTICE:

Position yourself to play your clarinet using the steps you learned in Chapter 2. You should practice playing this song several times until you feel confident with it.

107


Now you have three songs to impress your family and friends with. These are not the only songs for clarinet, however. Music stores and the internet are great sources of new sheet music for all levels of clarinet play. While the newer, more popular songs can be relatively expensive, there are hundreds of clarinet songs in public domain. This means that they are free for you to use and distribute.

108

Resource websites for more sheet music for your clarinet:

www.8notes.com

www.sheetmusicplus.com

www.music-scores.com

www.clarinetspot.com

www.clarinetinstitute.com

http://www.8notes.com/�

http://www.sheetmusicplus.com/�

http://www.music-scores.com/�

http://www.clarinetspot.com/�

http://www.clarinetinstitute.com/�


CHAPTER 6 SELF-ASSESSMENT Fill in the diagram with the corresponding answers. Do not refer to the chapter.

1.) Here is a measure from “Twinkle Twinkle Little Star.” Label each note on the lines provided, then fill in the circles on the fingering diagrams to match each note in the measure.

__ __ __ __

109



Fill in the diagram with the corresponding answers. Do not refer to the chapter.

2.) Here is a measure from “Mary Had a Little Lamb.” Label each note on the lines provided. Fill in the circles on the fingering diagrams to match each note in the measure.

__ __ __ __

110




3.) Here is a measure from “Happy Birthday.” Label each note on the lines provided. Fill in the circles on the fingering diagrams to match each note in the measure.

__ __ __

111


CHAPTER 6 SELF-ASSESSMENT (ANSWER KEY) Fill in the diagram with the corresponding answers. Do not refer to the chapter.

1.) Here is a measure from “Twinkle Twinkle Little Star.” Label each note on the lines provided, then fill in the circles on the fingering diagrams to match each note in the measure. (See “Twinkle Twinkle Little Star”)

112


CHAPTER 6 SELF-ASSESSMENT (ANSWER KEY) Fill in the diagram with the corresponding answers. Do not refer to the chapter.

2.) Here is a measure from “Mary Had a Little Lamb.” Label each note on the lines provided. Fill in the circles on the fingering diagrams to match each note in the measure. (See “Mary Had a Little Lamb”)

113




3.) Here is a measure from “Happy Birthday.” Label each note on the lines provided, then fill in the circles on the fingering diagrams to match each note in the measure. (See “Happy Birthday”)

114



MAINTAINING THE CLARINET


Maintain the clarinet - Disassemble the Clarinet - Clean the Clarinet - Inspect Keys, Pads, Springs and Levers - Grease the Cork - Store the Clarinet

115


MAITAINING THE CLARINET


MAINTAINING THE CLARINET BEFORE YOU BEGIN… The ability to play beautiful music on the clarinet depends not only on your talent and skill, but also on the reliability of your clarinet. You may develop and hone the technique and ability required to play very difficult pieces of music, but will not be able to do so if your instrument fails you. Conversely, a faulty clarinet will not allow you to develop a good technique. Maintaining the clarinet will not only elongate the useful life of the instrument, but also provide you with an instrument that has strong intonation, stable pitch, and fine tone characteristics throughout its registers.


Disassemble the clarinet Clean the clarinet Inspect keys, pads, springs

and levers Grease the cork Store the clarinet

116


DISASSEMBLING THE CLARINET The clarinet is disassembled in a single phase, unlike the assembly that occurred in two phases.

While disassembling the clarinet,

remember the following things: NEVER forcefully separate the

parts! AVOID grasping the keywork. NEVER rotate the parts in a

sporadic manner. This WILL damage the cork!

To disassemble the clarinet, follow the steps listed below:

1.) Loosen and remove the ligature.

2.) Remove the Reed From the Mouthpiece.

117


3.) Separate the Mouthpiece from the Barrel by smoothly rotating the Mouthpiece while pulling the parts apart.

4.) Separate the Barrel from the Upper Joint by

smoothly rotating the Barrel while pulling the parts apart.

5.) Separate the Lower Joint from the Upper Joint by smoothly rotating the Lower Joint while pulling the parts apart.

6.) Separate the Bell from the Lower Joint by smoothly rotating the Bell while pulling the parts apart.

118


Now that you know a bit more about the disassembly procedure, you have the information needed to go out and disassemble your clarinet into its individual parts.

STEPS TO DISASSEMBLE THE CLARINET:

1. Remove the ligature 2. Remove the Reed 3. Separate the Mouthpiece from the

Barrel 4. Separate Barrel from the Upper

Joint. 5. Separate Upper Joint from the

Lower Joint 6. Separate Lower Joint from the Bell

119


CLEANING THE CLARINET Each individual part of the clarinet must be cleaned after every use of the instrument. The clarinet must be cleaned in order to prevent the breakdown of sugars from your saliva, which when trapped in the clarinet, eat into the clarinet body causing a change in the sound. Cleaning the clarinet also prevents the growth of bacteria.

While cleaning the clarinet, remember

the following things: ALWAYS use soft, absorbent

material such as felt! ALWAYS clean each individual

part. AVOID grasping the keywork.

To clean the clarinet, it is necessary to do the following:

1.) Drop the weighted, string attached to the end of the felt cloth into and through the bore of the individual part.

2.) Slowly pull the string, such that the felt cloth

runs through the entire length of the individual part.

STEPS TO CLEAN THE CLARINET:

• Drop weighted string through the individual part.

• Pull felt cloth through the individual part.

120


INSPECTING KEYS, PADS, SPRINGS AND LEAVES Each individual part of the clarinet must be inspected after it has been cleaned. The keys, pads, springs and levers on each part must be inspected for wear and tear or malfunctions. The parts which do not have keys, pads, springs and levers must also be inspected for broken pieces.

While inspecting the clarinet, remember

the following things: ALWAYS thoroughly inspect each

individual part. AVOID grasping the keywork.

Inspecting the clarinet involves the following steps:

1.) Inspect the keys on each individual part. When the key is pressed down, its tone hole should be completely open with blockages.

2.) Inspect the pads on each individual part. When the pad is closed, it should completely cover the tone hole.

121


3.) Inspect the springs on each individual part. The spring should be able to always return its associated key to its original position.

4.) Inspect the levers on each individual part. The lever should move up and down without any impedance, and always return to its original position.

STEPS TO INSPECTING THE CLARINET:

• Inspect keys on each individual part

• Inspect pads on each individual part

• Inspect springs on each individual part

• Inspect levers on each individual part

122


GREASING THE CORK The cork fitting on each individual part of the clarinet must be greased after each use of the instrument. Cork naturally tends to lose moisture, become brittle, and eventually break. Loose or broken cork ends will not allow the proper assembly of the instrument. Greasing the cork will prevent the cork from breaking.

While greasing the cork, remember the

following things: ALWAYS apply the cork grease to

EVERY cork fitting. DO NOT apply excessive cork

grease. AVOID grasping the keywork.

To grease the cork, you should:

1.) Remove cork grease from clarinet case.

2.) Apply the cork grease over the surface of the cork fitting, in a smooth motion.

STEPS TO GREASING THE CORK:

• Gather cork grease

• Apply cork grease to cork fitting

123


STORING THE CLARINET The clarinet must be stored in a cool, dry environment. Furthermore, to prevent damage to any of the clarinet’s parts, the instrument should be stored in a sturdy container. The clarinet case is sturdy and provides the ideal environment for storing your instrument.

While storing the clarinet, remember

the following things: ALWAYS place individual parts in

their correct place within the clarinet case.

ALWAYS keep the clarinet case in a safe place.

AVOID grasping the keywork.

When storing your clarinet, it is important to:

1.) Gather the Bell, Lower Joint, Upper Joint, Barrel, Mouthpiece, Ligature and Reed.

2.) Place the individual parts in their respective compartments within the clarinet case.

3.) Close the clarinet case, and store in a safe place.

STEPS TO STORING THE CLARINET:

• Gather all individual parts

• Place parts in clarinet case

• Close clarinet case and store 124



1.) What are the five things you must do in order to maintain your clarinet?

2.) What are the six steps required when disassembling a clarinet?

3.) What are two reasons why you must always clean your clarinet after playing?

125



4.) What are the four things you must check for when inspecting your clarinet?

5.) Why should you always grease the cork of your clarinet after playing?

6.) How must you store your clarinet to prevent damage to the instrument?

126



1.) What are the five things you must do in order to maintain your clarinet? (See “Maintaining the Clarinet”)

Disassemble the clarinet. Clean the clarinet. Inspect keys, pads, springs, and levers. Grease the cork. Store the clarinet in a cool, dry place.

2.) What are the six steps required when disassembling a clarinet? (See “Disassembling the Clarinet”) Remove the ligature. Remove the Reed. Separate the Mouthpiece from the Barrel. Separate Barrel from the Upper Joint. Separate Upper Joint from the Lower Joint. Separate Lower Joint from the Bell.

3.) What are two reasons why you must always clean your clarinet after playing? (See “Cleaning the Clarinet”)

Sugars from your saliva can break down the clarinet, causing a change in the sound. To prevent the growth of bacteria.

127



4.) What are the four things you must check for when inspecting your clarinet? (See “Inspecting Keys, Pads, Springs, and Levers”)

Broken or stuck keys. Missing or loose pads. Missing, loose or stuck springs. Broken or stuck levers. 5.) Why should you always grease the cork of your clarinet after playing? (See “Greasing the Cork”) To prevent the cork from drying out and breaking off the instrument. 6.) How must you store your clarinet to prevent damage to the instrument? (See “Storing the Clarinet”) The clarinet must be disassembled and stored in its case in a cool, dry place.

128

If you have answered each question correctly, then congratulations! You are now ready for the Summary. If not, then please review the material in the previous chapter and retake the Self Assessment before moving on.


SUMMARY

129

After completing this chapter, you will be:

A Clarinetist


SUMMARY

CONGRATULATIONS! You have successfully completed the “Playing The Clarinet” Instructional Manual. To ensure that you have a firm hold on the materials covered, please review the summary of the chapters that follows. This review will provide you with an opportunity to reflect on the materials covered in this instructional manual, and further reinforce the knowledge and skills that you have acquired with the completion of this instructional manual. CHAPTER 1 In Chapter 1, you learned how to choose a clarinet, and how to identify the parts of the clarinet. You learned how to distinguish between wooden and plastic clarinets and you learned how to distinguish between Boehm System and Albert System clarinets. You also learned that the clarinet is made up of six individual parts- the Bell, the Lower Joint, the Upper Joint, the Barrel, the Mouthpiece and the Reed- and you learned how to identify each part.

CHAPTER 2 In Chapter 2, you learned how to assemble the clarinet, how to position yourself to play the clarinet, and how to produce sound with the clarinet. You learned that the clarinet is assembled in two phases- first, the Mouthpiece and the Reed is assembled, and second, the Bell, the Lower Joint, the Upper Joint and the Barrel are assembled. You then learned how to grasp the clarinet, and how to either sit or stand when playing the clarinet. Finally, you learned how to form the embouchure, how to blow into the clarinet and how to tongue the Reed. CHAPTER 3 In Chapter 3, you learned how to read music. You learned to identify the parts of the staff, including the treble clef and the time signature. You learned to identify note and rest values, including wholes, halves, quarters and eighths. You learned to name notes on the staff, from Low F to High E. You learned to identify naturals, flats and sharps. You also learned to identify slurs and staccatos, identify repeats, and finally, the tempo and dynamics.

130


CHAPTER 4 In Chapter 4, you learned how to finger notes on the clarinet. You learned how to finger notes using only your left hand. You learned how to finger notes using your left and right hands. You learned how to finger left and right hand notes in conjunction with the register key. And you also learned how to finger flats and sharps. CHAPTER 5 In Chapter 5, you learned how to play scales. You learned to play the B-Flat Major scale for the clarinet, and you learned to play the E-Flat Major scale for the clarinet. You also learned how the clarinet is a transpose instrument. CHAPTER 6 In Chapter 6, you learned how to perform three different songs on the clarinet. You learned to perform “Mary Had A Little Lamb”, to perform “Twinkle Twinkle Little Star”, and to perform “Happy Birthday”.

CHAPTER 7 In Chapter 7, you learned how to maintain the clarinet. You learned how to disassemble the clarinet. You learned how to clean the clarinet, and to inspect its keys, pads, springs and levers. You also learned how to grease the cork on the clarinet, and finally, you learned how to store the clarinet. QUICK REFERENCE GUIDE You have also been provided with a QUICK REFERENCE GUIDE, which includes the fingering scheme of each note from Low F to High E. By completing the “Playing The Clarinet” Instructional Manual, you are now able to play scales and songs, as well as assemble, hold and maintain the instrument, operate its keys, levers and holes, and read musical notation. Feel free to go back at any time to review the material. Now you may begin to play for an audience, using this manual as a reference.

CONGRATULATIONS!

131


QUICK REFERENCE – FINGERING GUIDE

132



133



134

playing the clarinet - bloomsburg university of …intro ch.1 ch.2 ch.3 ch.4 ch.5 ch.6 ch.7 summary...

Documents