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INSTRUMENTS OF THE CLARINET FAMILY

Eb Clarinet

Bb Clarinet

A Clarinet

Eb Alto Clarinet

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Bb Bass Clarinet

Eb Contra-alto Clarinet

(aka Eb Contra-bass Clarinet)

Bb Contra-bass Clarinet

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INSTRUMENTS IN THE CLARINET FAMILY

Eb Clarinet x A school-owned instrument in most normal circumstances x Smallest instrument in the clarinet family x Colloquially called “E-fer” x Comes in one piece x Has a very short bell and a barrel x Holes and keys are very close together x Concert F is a written D (4th line in treble clef) x Sounds a minor 3rd higher than written x Slightly more mouthpiece is taken in vs. Bb Clarinet x To play with a more mellow sound, a Rovner leather ligature is recommended x To play with a more projected sound, a Bonade ligature is recommended x One cannot play on too soft of a reed (usually 3 ½) x Use an X-Acto knife to soften a reed x Bb Clarinet reeds may be used but must be cut down (cut from the bottom and not

the tip; thus the reed is thicker) x The harder the reed, the higher you play x Firmer embouchure is needed; basically feels like one is “biting down” on the

instrument x Costs about $6000-$9000 MSRP, $4000-$5000 with the discount through the

school x Never to be used in middle school x The high register tends to be flat on this instrument x Avoid placing students on this instrument that have large hands/fingers x Used in: Symphonie Fantastique by Berlioz

Bb Clarinet x Typical instrument used in middle school and high school x Only clarinet that is student-owned as opposed to school-owned in most normal

circumstances x Concert F is a written G (2nd line in treble clef)

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A Clarinet x A school-owned instrument x Slightly longer than Bb Clarinet (very subtle difference) x Sounds a half step lower than a Bb Clarinet x Concert F is a written G# (2nd line in treble clef) x Keys and holes are more spread out x Darker sound than a Bb Clarinet x Low register has a richer sound x Notes above the break are more resistant/challenging x Since the A clarinet is a bigger instrument, it requires more air and embouchure x Should not be used in middle school x Used primarily in orchestral literature, band transcriptions, or if a student

auditions for All-Region/All-State Orchestra x Sometimes used in Solo and Ensemble literature at the high school level x Used in: Tchaikovsky Symphony No. 4 by Tchaikovsky and Roman Carnival by

Berlioz

Eb Alto Clarinet x A school-owned instrument x Sounds 2 octaves below Eb Clarinet x Concert F is a written D (below staff) x Most easily rewritten to Bass Clarinet x Played with a neck strap x Should not be used in middle school x Used primarily in a high school chamber choir, or if a student auditions for All-

Region/All-State Band x Reads treble clef x Used in: Lincolnshire Posy by Grainger x Recommended to switch over Bb Clarinet players who have big sounds but

maybe at the bottom of their sections consistently

Bb Bass Clarinet x A school-owned instrument in most normal circumstances x Sounds an octave lower than written x Sounds an octave lower than the Bb Clarinet x Concert F is a written G (2nd line in treble clef)

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x Standard instrument for middle school and high school students o Demonstrate the bass clarinet during your recruiting concert(s) to develop

interest in your 5th graders o If there are students interested and you have the instruments available,

start them on the Bass Clarinet!! x Lowest note is E below middle C (for older, one piece instruments) x Older instruments are usually in one piece, newer instruments are often in two

parts and can go to Eb below middle C (around $10K) o Even more advanced clarinets have enough keys to go down to low C,

including an alternate low G# key o Bass clarinets that go down to a low C are slightly longer than a standard

Bass Clarinet o You will have less repair issues with two-piece instruments

Eb Contra-alto Clarinet (aka Eb Contra-bass Clarinet) x A school-owned instrument x Sounds two octaves lower than written x Concert F is a written D (below staff) x Uses same transposition as the baritone saxophone x Can be used in a middle school first band or a second band with eligibility issues

in the tuba section x Can be used in a high school band x Can be used to enhance or replace a baritone saxophone or tuba

o Student can be given a baritone saxophone part since most literature will not have a part for Eb Contra-alto Clarinet

x Have student sit on a double-stacked chair, or put electrical tape around a large phone book

x Reads treble clef

Bb Contra-bass Clarinet x A school-owned instrument x Sounds two octaves below the Bb clarinet x Concert F is a written G (below staff) x Should not used in middle school or high school unless a specific piece calls for it x Students playing this instrument must sit on a string bass stool x Students playing this instrument must have a taller stature x Maintenance issues typical with this instrument x Reads treble clef

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*The larger the instrument, the more susceptible they are to bent keys, bent rods and leaks.

Middle School Inventory

x Bass Clarinet x Eb Contra-alto Clarinet (possibly)

High School Inventory

x Bass Clarinet x Eb Contra-alto Clarinet x A Clarinet x Eb Clarinet x Eb Alto Clarinet (possibly for students auditioning for All-State

or students performing in a clarinet choir for Ensemble Contest)

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CLARINET PEG STANDS

Herb Blayman—Woodstock, Georgia • A thick, metal plate of steel (or hard rubber) which is purchased separately from the pegs

• Heavy-duty with rubber pegs

• Stand is $74 for a double peg stand or $85 for a triple peg stand

• Bb and A clarinet peg: $56

• Eb clarinet peg: $60 (more expensive because the peg is more raised)

• You have to order each peg

• The triple peg stand can hold an Eb and 2 Bb pegs, but it is difficult to fit all three; the Bb pegs can hold either a Bb or an A clarinet

• The Eb peg is raised so you can reach down more easily

• To take it apart, you have to unscrew the pegs and carry the base separately

• Screws do not tend to strip because they go far into the base

Hercules

• Yellow with black legs which fold out

• $27 for a stand with one peg

• $41 with 3 pegs; two pegs can hold either a Bb or an A clarinet; other peg is for E-flat clarinet

• Pegs do not have to be purchased separately

• Pegs are thinner than Blayman

• Can easily be collapsed, transported and stored

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CHARACTERISTICS WHEN RECRUITING AND SELECTING CLARINET PLAYERS

Physical Characteristics/Factors • Fingers must be long and big enough to cover the holes. • Avoid placing very small students with short arms on clarinet, because they will have a hard

time reaching the bottom joint. • A full bottom lip is an attribute for success when possibly switching a student to bass

clarinet. • Students that are taller in stature and have longer arms could also be great candidates for bass

clarinet. • Students playing clarinet must have a jaw that is flexible that can move forward and

backward. • Unlike playing the flute and high brass instruments, having braces does not hinder students

playing clarinet. • Avoid recruiting students on clarinet who are double-jointed. • There are fewer physical characteristic factors when considering clarinet than most other

woodwind instruments.

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BEGINNING CLARINET CLASSROOM AND ENSEMBLE SET-UP

Beginning Classroom Set-Up

• Your beginning clarinet class should be taught in the band hall.

• Configure your classroom based on how many students you have in the class. Unless you have an unusually small class—in which case it can be taught in an ensemble room.

• Start off the semester by putting students in alphabetical order so you can learn their names faster. Once music stands and mirrors are utilized in class, hanging name tags can continue to help you learn student names quicker. These can and should also be used on any days you have clinicians/consultants visit.

Types of Classroom Set-Ups

1. Arched set-up

! If using your “ensemble set-up” for your class, have students sit in a “box,” so all students receive the same amount of attention/eye contact from you.

! Have students sit in every other chair (if all chairs have to remain in your set-up throughout the day).

! The aisles between your rows must be large enough so that you will have quick and easy access to any student--both from the front and the back.

! If you end up needing to use risers, make sure the backings are on them for safety reasons. If the risers do not come with backings, you can enlist the help of either a band dad or your woodshop teacher to install backings.

! As much as possible, have students in “windows.”

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! You must be able to see each student from the front and the back. With that said, you are not always able to correct student’s posture, hand position, etc. from the front of the room; thus, you need to be walking around the room instead of “parking” on a stool!

! Once you start determining playing ability levels of your students, place weaker players in the front of the classroom and stronger players in the back. Less attention is typically given to players who are further back in the set-up.

2. Horseshoe set-up

! This set-up is not recommended--why? Because you have a limited range of vision.

! If you decide to use this set-up, you will need to pull the stand/podium far enough back in order to have clear vision of every student.

3. Arched with aisle

! This is a very acceptable set-up, even with full ensembles.

4. Straight line set-up

! These should only be used with bigger facilities.

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! In order for you to have visual contact with all of the students, the students on the ends of the rows will have to adjust their chairs/bodies towards you or you need to have them sitting in a “box” (see arched set-up).

5. Straight line set-up with aisle

6. Circular set up

! One teacher teaches from the inside and one from the periphery. Students face in towards middle.

! If you are teaching alone, it will be too hard to maneuver when teaching outside of the circle.

! This set-up is typical in elementary school cafeterias or small stage “cafetoriums”.

7. Have beginners only sit on right side of your band set-up.

! This would assume that your flute and French horn players sit on the left side of your set-up.

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Full Ensemble Set-Up

• Again, clarinet players need to be on the opposite side of the ensemble as the flute and French horn players.

• First chairs need to sit together so they can more easily balance and match in terms of balance, pitch, etc.

• It is recommended to have no more than three clarinet players on first part; furthermore, high school literature may only need two clarinet players on first part.

• Bass clarinet players should never be placed with the low brass in the back of the ensemble…regardless of whether or not risers are utilized.

Bass Cl "

Low Cl. (Option 1)

Low Cl. (Option 2)

Trombone Tuba

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RECOMMENDED Bb CLARINET BRANDS/MODELS Beginner Bb Clarinet Buffet E11 African Blackwood; undercut tone holes; copper/silver plated

keywork; MSRP $1195.00 @ muncywinds.com; (Recommended) B12 ABS resin (wood finish); nickel-plated body keywork not fancy;

MSRP $987.00 @ www.muncywinds.com Premium “Fashioned after the celebrated E13 and E12F models...”;

specifically designed to be affordable for beginning student clarinet players; MSRP $1,129.00 @ www.musicarts.com

Prodige Co-Polymeric ABS; nickel or silver plated keys available; features

the pro design and sound of the R13 at a reasonable cost; MSRP $549.99 @ wwbw.com

Yamaha YCL–255 Matte ABS resin; nickel-silver keywork w/ nickel-plated finish;

tapered undercut tone holes; MSRP $950.00 @ wwbw.com YCL–450 Grenadilla wood; nickel-silver keywork w/ silver-plated finish;

inserted, tapered undercut tone holes; MSRP $1,236.99 - $1,471.99 @ wwbw.com; (Recommended)

YCL–450N Grenadilla wood; nickel-silver keywork w/ nickel-plated finish;

inserted, tapered undercut tone holes set in plastic; MSRP $1816.00-$2,109.00 @ wwbw.com; (Recommended)

LeBlanc – Normandy Model 4 Grenadilla wood; nickel-silver keywork; MSRP $6000.00 @

wwbw.com Professional Bb Clarinets Buffet R13 Unstained Grenadilla wood; keywork pre-plated in copper and

finished in silver or nickel plate; double fish skin pads; nickel-silver keys MSRP $5,884.00 @ wwbw.com (MSRP $3993.00 with silver plated keys @ Muncywinds.com)

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Silver-plated keys; MSRP $6,656.00 @ wwbw.com; (Recommended)

R13 – Prestige Unstained Grenadilla wood; keywork pre-plated in copper and

finished in silver plate; undercut tone holes; stainless steel rods and pivot screws; Gore-Tex pads; MSRP $6398.00 @ Muncywinds.com; (Recommended)

RC Stained choice Grenadilla wood; Eb lever option; stainless steel

rods and pivot screws; double fish skin pads; MSRP $4657.00 @ Muncywinds.com

RC – Prestige Unstained Grenadilla wood; keywork pre-plated in copper and

finished in silver plate; undercut tone holes; stainless steel rods and pivot screws; Gore-Tex pads; smaller bore; available with full Boehm system - 20 keys / 7 rings articulated G#, F# / G# trill, low Eb; available as a special model - 18 keys/ t rings with articulated G#; MSRP $5916.00 @ wwbw.com

Buffet – Festival Unstained Grenadilla wood; extra Eb key; 100% waterproof

material pads; MSRP $4,520.00 @ wwbw.com Bb Clarinet Brands to Avoid (only in my opinion☺) Jupiter Selmer Simba (Sam’s Club) Bory (Sam’s Club) First Act (Wal-Mart) Harmony (JC Penney) Artley Bundy Buscher Leblanc King Boosey & Hawkes S Series Reynolds York Blessing Pearl Vito Gibson Sky Schreiber

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RECOMMENDED Bb CLARINET

MOUTHPIECES AND LIGATURES

Mouthpieces Vandoren 5RV – Lyre Standard mouthpiece for beginners through college; more open

than 5RV and has a slightly longer facing; MSRP $172.99-$184.99 @ wwbw.com; (Recommended)

5RV Standard mouthpiece for beginners through college; MSRP

$172.99 @ wwbw.com B45 Standard mouthpiece, a little more open than a 5RV or 5RV Lyre;

comes in three styles; (standard; B45 – Dot; B45 – Lyre); MSRP $172.99 @ wwbw.com

M30 Longer facing and more open than the 5RV or 5RV Lyre; MSRP

$172.99-$184.99 @ wwbw.com

M13 – Lyre Close tip; medium facing; gives a nice dark sound; easy to play in the high register; orchestral players still use these mouthpieces; sound best when paired with Vandoren rue lepic (V56) strength 3.5-4 reeds; MSRP $86.95 @ wwbw.com (great as a step-up from the 5RV-Lyre)

D’Addario – formerly Rico MCR-X0 This is the D’Addario standard mouthpiece from the Reserve

collection. Very similar to the Vandoren M13 Lyre; MSRP $183.75 @ wwbw.com; (Recommended, especially for beginners)

MCR-X5 Similar to the Vandoren 5RV Lyre; MSRP $183.75 @

musicarts.com

MCR-X10 Similar to the Vandoren 5RV; has a Medium-Open facing; MSRP $183.75 @ westmusic.com

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or use this link to view the chart online: http://assets.daddario.com/images/mouthpiece_comparison_chart_large.gif Advanced Mouthpieces Note: If a student is considering changing mouthpieces, it is important that a professional clarinetist or private lesson teacher is consulted for their recommendations. Mouthpieces can be made differently even if from a factory; therefore, it is usually best to purchase one that has a reputation of playing well. Gregory Smith http://www.gregory-smith.com, around $300.00 Richard Hawkins http://www.richardhawkinsmouthpiece.com around $330.00

Hawkins is a D’Addario artist so he uses their reeds; thus, if you purchase one of his mouthpieces you NEED to experiment with D’Addario reeds.

Clark Fobes https://www.clarkwfobes.com around $300 The aforementioned websites contain details regarding their specific mouthpieces. These vendors will send multiple options for students to try; they usually allow 2 weeks for a specific mouthpiece to be selected. There will be no charge until a mouthpiece has been picked out…and the remainder of the mouthpieces have been returned without scratches, etc. Private lesson teachers should be very active in this process. Ligatures

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Bonade – Inverted Rails are on opposite side of screws; reed is held in place by the

ligature pulling the reed against the table of the mouthpiece; MSRP $32.00-$33.00 @ wwbw.com; (Recommended)

Bonade Rails are on the same side as the screws; reed is held in place by

the ligature pushing the reed against the table of the mouthpiece; MSRP $32.00-$33.00 @ wwbw.com

Rovner – Dark 1R Rubberized polyester fabric and screw-type ligature; MSRP $36.96

@ wwbw.com Ligatures to avoid

x Rovner and BG leather o Eats up the sound o Produces a darker, non-resonant sound o Prohibits reed vibration o Does not hold the reed properly, resulting in the ligature slipping o Material stretches over time

***If you do use these ligatures, the fabric is on the side of the reed and the screw is on the right.

How to store the mouthpiece and ligature

x Do not allow students to leave: o the reed they are currently playing on the mouthpiece o the assembled mouthpiece and ligature in the case

This usually happens because students are lazy or not given enough time to clean their instruments. /

x Do NOT allow students to simply store the assembled mouthpiece and ligature in the case!

x Ideal way to store the mouthpiece/ligature: o Students should put an unused, dry reed (that has never been played on

before) on their mouthpiece which is secured by the ligature while it is stored. Tighten the screw to its first point of resistance. This prevents the ligature from losing shape and the face of the mouthpiece being scratched.

o Students should have a plastic mouthpiece cap over the mouthpiece/reed/ligature while in the case at all times. Caps protect the entire “set-up.”

Cleaning the mouthpiece

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x After EACH CLASS, students need to use the end of their silk swab to dry out the receiver and tip of the mouthpiece. It is recommended to use the pinky so that it can fit into the receiver and the tip.

x At home, students are recommended to clean the inside of the mouthpiece by using a damp cloth with warm running water and antibacterial soap.

x When cleaning the outsides of mouthpieces, students should be very careful not to scratch the mouthpiece with any hard brushes, sponges or “other” things (ligature, pencil, pen, etc.).

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RECOMMENDED BASS CLARINET BRANDS/MODELS MS/JH 2nd/3rd Band Buffet 1183 –Prestige Grenadilla wood; 2 part “Charles Bay” style neck; silver

plated keywork; undercut tone holes; low Eb; MSRP $9,454.00; (Recommended)

Selmer Selmer Paris 67(formerly 35) Silver-plated nickel silver keywork, upper and lower joints in Grenadilla wood, silver plated brass bell; low Eb;

MSRP $12,659.00; (2nd Choice) Selmer USA 1430 LP High-impact plastic body with brushed wood grain finish;

re-curved neck and nickel plated keys; low Eb; MSRP $1,869.00

Leblanc L 60 Grenadilla wood; nickel plated keys; low Eb;

MSRP $5,689.00 MS/JH 1st Band Buffet 1193 – Prestige Grenadilla wood; 2 part “Charles Bay” style neck; silver

plated keywork; undercut tone holes; low C; MSRP $10,349.00; (Recommended)

1183 –Prestige Grenadilla wood; 2 part “Charles Bay” style neck; silver

plated keywork; undercut tone holes; low Eb; MSRP $9,454.00;

Selmer Selmer Paris 67(formerly 37) Silver-plated nickel silver keywork, upper and lower joints

in Grenadilla wood, silver plated brass bell; articulated G#; alternate Eb-Ab keys low C; MSRP $12,659.00; (2nd Choice)

Selmer Paris 65(formerly 35) Silver-plated nickel silver keywork, upper and lower joints in Grenadilla wood, silver plated brass bell; low Eb; MSRP $13,365.0.00

****NEVER purchase the Buffet 1180 Student Model instrument. This instrument is not

a good quality instrument, and is not built proportionately to the other more advanced bass clarinets. This instrument does not allow for good posture, as the student’s right hand is forced to be uncomfortably lower than on other model instruments.

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HS 2nd/3rd/4th Concert Band Buffet 1183 –Prestige Grenadilla wood; 2 part “Charles Bay” style neck; silver

plated keywork; undercut tone holes; low Eb; MSRP; $9,454.00 (Recommended for 3rd/4th Bands)

1193 – Prestige Grenadilla wood; 2 part “Charles Bay” style neck; silver

plated keywork; undercut tone holes; low C; MSRP; $10,349.00 (Recommended for 2nd Band)

Selmer Selmer Paris 65(formerly 35) Silver-plated nickel silver keywork, upper and lower joints in Grenadilla wood, silver plated brass bell; low Eb;

MSRP $13,365.00; (2nd Choice for 3rd/4th Bands) Selmer Paris 67(formerly 37) Silver-plated nickel silver keywork, upper and lower joints

in Grenadilla wood, silver plated brass bell; articulated G#; alternate Eb-Ab keys low C; MSRP $12,659.00; (2nd Choice for 2nd Band)

Leblanc L 60 Grenadilla wood; nickel plated keys; low Eb;

MSRP $5,689.00 HS 1st Concert Band Buffet 1193 – Prestige Grenadilla wood; 2 part “Charles Bay” style neck; silver

plated keywork; undercut tone holes; low C; MSRP $10,349.00; (Recommended)

Selmer Selmer Paris 67(formerly 37) Silver-plated nickel silver keywork, upper and lower joints

in Grenadilla wood, silver plated brass bell; articulated G#; alternate Eb-Ab keys low C; MSRP $12,659.00; (2nd Choice)

HS Marching Band Selmer Selmer USA 1430 LP High-impact plastic body with brushed wood grain finish;

re-curved neck and nickel plated keys; low Eb; MSRP $1,869.00

Jupiter 673N One-piece ABS Resin body; forged nickel-silver keys; low

Eb; MSRP $1975.00

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RECOMMENDED MS/JH/HS HARMONY CLARINETS Eb Alto Clarinet Selmer Model 22 Two piece grenadilla body; silver plated keys/bell/neck;

low Eb; MSRP $10,819.00 (Recommended for MS/JH/HS 1st Bands)

Eb Contra Alto Clarinet (aka Eb Contra Bass Clarinet) Selmer Paris Model 41 Two piece rose wood body; silver plated keys/bell/neck;

low Eb; MSRP $12,659.00 (Recommended for HS 1st/2nd Bands)

Buffet 1553 Prestige Grenadilla wood; 2 part “Charles Bay” style neck; silver-

plated keywork; undercut tone holes; low Eb; MSRP $18,181.00

Selmer Model 1440 Two piece resonite body; nickel-silver neck and bell; low

Eb; MSRP $3610.00 (Recommended for MS/JH 1st Band)

LeBlanc Model 7181 One-piece body resotone (composite) body w/ wood like

finish; nickel plated keys/neck/bell; low Eb; MSRP $2,929.00 (Recommended for MS/JH 1st Band)

Bb Contra Bass Clarinet Selmer Paris Model 41 Two piece rose wood body; silver plated keys/bell/neck;

low C; MSRP $30,879.00 (Recommended for HS 1st/2nd Bands)

LeBlanc Model 7182 One-piece body resotone (composite) body w/ wood like

finish; nickel plated keys/neck/bell; low Eb; MSRP $4849.00 (Recommended for MS/JH 1st Band)

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RECOMMENDED BASS CLARINET AND HARMONY

CLARINET MOUTHPIECES AND LIGATURES

Mouthpieces Bass Clarinet Selmer C* Standard mouthpiece good for MS/JH student all the way

through the professional; MSRP $381.95 (Recommended) HAS BEEN DISCONTINUED but are still the best; the

Selmer models that have replaced it are subpar and do not sound good; although, many of these mouthpieces are still in circulation and can be found if you know the right people (Chester Rowell/Alexander “Sasha” Potiomkin)

Fobes- Nova model Recommended as the replacement to the C*; shares many of the C*’s qualities MSRP $170.00 Fobes- Debut model Use this mouthpiece as marching band mouthpieces or as a

substitute for the Nova if there is a financial hardship. MSRP $75.00

Vandoren B44 Standard tip opening; medium facing; MSRP $287.99 Vandoren B45 Larger tip opening than the B44; MSRP $287.99 Charles Bay “M-O-M” A good mouthpiece for an advanced player; the “M-O-M” Facing (size) stands for Medium – Open – Medium and refers to the tip opening and facing; price available through Charles Bay Hawkins- RHBbBASS Another great mouthpiece for an advanced student; it is

very open and allows for more control in the autisimo and low registers. MSRP $295.00 (Rico grand concert select reeds)

Eb Alto Clarinet Richard Hawkins-AltoCL The best sounding alto clarinet mouthpiece; Makes the

instrument sound the way it was intended and helps alleviate most pitch issues MSRP $295.00

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Eb Contra Alto Clarinet (aka Eb Contra Bass Clarinet) Selmer C* Standard mouthpiece good for MS/JH student all the way

through the professional; MSRP $479.99 (Recommended) Discontinued but still “out there” Fobes- San Francisco Standard mouthpiece good for MS/JH student all the way

through the professional; MSRP $350.00 Charles Bay “M-O-M” Facing A good mouthpiece that is more open and free blowing

than the C*; the “M-O-M” stands for Medium – Open – Medium and refers to the tip opening and facing; price available through Charles Bay

Bb Contra Bass Clarinet Selmer C* Standard mouthpiece good for MS/JH student all the way

through the professional; MSRP $464.99 (Recommended) Discontinued but still “out there” Fobes- San Francisco Standard mouthpiece good for MS/JH student all the way

through the professional; MSRP $350.00 Ligatures Bass Clarinet Bonade – Inverted Rails are on opposite side of screws; reed is held in place

by the ligature pulling the reed against the table of the mouthpiece; MSRP $41.50

Contra Alto/Bass Clarinet Standard Stock Ligature These ligatures do not have rails on them. You can

experiment with them either with the screws on the reed side or on the “fat-side” of the mouthpiece.

Homemade Velcro Ligature Using double-sided Velcro, you can make a Velcro ligature

similar to a Rovner ligature. Synthetic Reeds ***should be used only with Contra Alto/Bass Clarinets!! Legere Synthetic Reeds Legere synthetic reeds are available in quarter sizes instead

of the conventional half sizes used by Vandoren. Contra Alto (use Bari Sax) – 2.5, 2.75, 3, 3.25 Contra Bass (use Contra Bass) - 2.5, 2.75, 3, 3.25

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RECOMMENDED E-FLAT CLARINET BRANDS/MODELS,

MOUTHPIECES AND LIGATURES

Eb Clarinet Buffet R13 Hand Selected Grenadilla Body; Undercut Tone Holes;

Double Skin Pads; MSRP $4755.00 ($5243.00 @ muncywinds.com)

RC African black wood, silver-plated keys; MSRP – in

between R13/RC Prestige RC Prestige M'Pingo Wood; Silver Plated Keys; Inset / Undercut Tone

Holes; Gore-Tex Pads; MSRP $6195.00 Mouthpieces Richard Hawkins RHEbCLS MODEL "STANDARD" Eb Clarinet Hard Rubber. This

mouthpiece has incredible ease of the upper register and solves Eb Clarinet intonation problems. Uses 3.5-4.0 reed strengths. Orchestra/Solo/Chamber. One Facing available only. Pitch Compatibility A=440-442. Labeled as "S"; http://www.richardhawkinsmouthpiece.com; MSRP $205.00

Remember Hawkins is a D’Addario artist, so their

reeds may work/sound best on his mouthpieces. Gregory Smith Eb- Old Chedeville Style Personal Facing. Vandoren V-12 # 3 ½ - 4 or equivalent

(Cut-off Bb reed); http://www.gregory-smith.com; MSRP $300.00

Vandoren B44 MSRP $94.99

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B40 MSRP $167.99 5Rv MSRP $167.99 Ligatures Bonade Bonade Eb Clarinet Ligature, Inverted; $19.83 - $21.99 (simply the best) Rovner-light or dark Fabric Clarinet Ligature with Cap; $21.99 BG-L8R Clarinet Ligature Standard; $34.99

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RECOMMENDED A CLARINETS Professional A Clarinets A clarinets produce a warmer and richer sound. They are also tuned a half-step below the Bb clarinet. Typically this instrument is only used in orchestral pieces, concertos, and some chamber music. It is recommended that at the high school level there should be at least one A clarinet on site. In general, Buffet A Clarinets are inherently stuffy when playing notes above the staff. Buffet R13 Silver plated keys; MSRP $7,916.00 @ wwbw.com/$4749.00 silver-

plated @ muncywinds.com/ nickel-plated $4286.00 @ wwbw.com; (Recommended)

RC – Prestige MSRP $7063.00 @ wwbw.com

Tosca A Clarinet This is a newer model of clarinet that many professionals like to use. Tosca clarinet also come with an alternate Eb key located above the left hand B and Db keys; MSRP $7848.75 @ wwbw.com

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CLARINET MAINTENANCE KIT -RECOMMENDED ITEMS

Vandoren Traditional Bb Clarinet Reeds

MSRP $21.98 @ amazon.com

x These reeds come individually wrapped in cellophane because their quality fluctuates due to climate changes.

x Students are encouraged to unwrap all the reeds in the box to allow the reeds to adjust to the climate.

**See additional handout regarding packaging.

One of the following reed cases can be chosen depending on socio-economic environment, availability, or preference.

Vandoren Reed Guards

Holds 4 - $9.95 @ muncywinds.com (includes a humidity deregulator with charcoal)

x It is recommended to remove the included

de-humidifier in climates of higher humidity. The de-humidifier is detrimental to the lifespan and quality of the reed (due to the environment). The de-humidifier can cause the reeds to dry out very quickly and become warped, or cause the moisture to linger and grow mold.

x Each reed slot is already numbered with dots.

x Tips of the reeds face toward the bottom of the reed case to prevent students from damaging the tips of the reeds.

Holds 8 – MSRP $30.99 @ wwbw.com

x Does not include a de-humidifier x Tips of the reeds face toward the hinges to

prevent students from touching the tips of the reeds.

Rico Reed Guard

MSRP $6.75 @ wwbw.com

x Rico is another type of reed guard that is less expensive than Vandoren.

x Recommended for marching band use x Will need to be numbered with a silver

sharpie, paint-pen, or stickers

Vandoren Mouthpiece Patches

Package of 6: MSRP $8.99 @ wwbw.com

x Patches are flat, clear, and inexpensive x Preferred over the Runyon rubber patches,

which are spongy and add height to the mouthpiece

x Ideal for students who have braces or are getting braces

x Keeps teeth from slipping off the mouthpiece and does not dampen the vibration as much as the Runyon patches

x Over time, teeth marks will appear making the student more aware of how much mouthpiece to use.

x Recommended for use in marching band

Runyon Clarinet Thumb Saver


x Prevents blisters or calluses from forming on the right thumb

x Other inexpensive options would be purchasing surgical tube from a home improvement store or pencil grips from an office supply store.

Yamaha Plastic Mouthpiece Cap


x Plastic is absolutely preferred to metal to protect the tip of the mouthpiece and reed.

x Make sure that students playing on an “attic horn” have a mouthpiece cap.

One of the following can be chosen when assisting students with proper maintenance regarding corks.

Selmer Tuning Slide and Cork Grease


x The Selmer cork grease is a liquid and lasts much longer than the normal ChapStick-style grease.

x Caution should be used when using this because it is very sticky.

x Must be stored in a plastic Ziploc bag as it may explode.

x If it hits something in the case or if exposed to heat, it will damage other maintenance kit items.

x To apply, squeeze a tiny bit of the grease up and down onto the cork. Then, making a ring with the thumb and forefinger, work the cork grease into the cork to create enough friction to properly lubricate the cork.

Woodwind Cork Grease


x Must be stored in a plastic Ziploc bag as it may explode or melt.

x Do not leave out at home unattended, as younger children may actually use it as ChapStick.

x To apply, squeeze a tiny bit of the grease up and down onto the cork. Then, making a ring with the thumb and forefinger, work the cork grease into the cork to create enough friction to properly lubricate the cork.

GEM Swabs Silk Clarinet Swab


x Do not use a cloth swab or a “shove-it” (currently called “Pad Guard”), which are often found with “attic horns.” Neither of these items will take sufficient moisture out of the body of the instrument. They also tend to get stuck.

x Very absorbent and features a tapered cut to limit the chance of getting stuck in the instrument

x The mouthpiece and barrel should be removed from the clarinet before swabbing.

x The clarinet must be held upside-down so the swab can be dropped through the bell and through the bottom of the upper joint with slight tugs. When holding the clarinet, one hand must be at the bottom of the upper joint. Do not yank or pull the swab from side-to-side, but rather up and down. Pulling the swab too forcefully or quickly may result in the swab getting stuck or torn by the register flu inside the upper joint of the clarinet.

x Wrap the swab around an index finger to clean the receivers of the barrel and mouthpiece, as well as the tip of the mouthpiece.

x Hand wash the swab with dish soap or Woolite and warm water.

8x10 Plexiglass

Binswangerglass.com

x Roadman will not supply. x Prices vary depending on where mirrors are

purchased. x Mirrors purchased through Binswanger can

be purchased in bulk and cut to a desired size. They will also be made of plexiglass.

x Purchasing mirrors at a home improvement store is also an option; however, mirrors will have to be individually cut by a band parent or yourself.

x No matter where mirrors are purchased, it is vital that they are made of plexiglass and not glass. Students will not hurt themselves on the corners of the mirrors; nor will the mirrors shatter when dropped.

x To receive a better price, attempt to find other band directors who would be willing to place an order as well. Assuring the company that you will place annual orders may also result in a discount.

x Self-portrait mirrors from art supply stores are acceptable.

x Car clip-on mirrors are not recommended because they are too small and the hinges break easily.

x Makeup mirrors are not recommended because they are too small and oddly shaped.

x It would be best if there was a box for the mirrors in each separate class location. Students can then easily obtain a mirror out of the box before class and return the mirror after class.

CLARINET MAINTENANCE KIT - OPTIONAL RECOMMENDED ITEMS

Selmer Bore Oil


• To be used on wooden clarinets only, not plastic.

• Only use bore oil once a year in colder climates. If teaching in the Midwest or anywhere that has a colder environment, have your students use bore oil. Bore oil keeps the wood from cracking.

• Because bore oil is used only once a year in colder climates, it should be kept at home in a safe place away from young children

• May be substituted with mineral oil

Giardinelli Bb Clarinet Handkerchief

Swab (bore oil cloth)


• This is the cloth used to apply bore oil. • The silk swab used daily should never

be used to apply bore oil. • Because bore oil is used only once a

year in colder climates, the swab should be kept at home in safe place.

EZO Denture Cushions

www.prestigebrands.com/ezo.htm

Amazon runs good deals for EZO in bulk. ☺

**See additional handout for specific information.

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Selmer Reed Case

Holds 5 - MSRP $44.99 @ wwbw.com Holds 10 – MSRP $61.99 @ wwbw.com

• Has a flat glass plate that allows the reeds to dry on a flat surface, keeping them from warping

• Has latches which are notorious for breaking

• The butt of the reed will go toward the hinges to prevent students from touching the tips of the reeds.

• Must be stored in a plastic Ziploc bag

Vandoren Hygro Reed Case


• Holds 6 reeds • Uses a humidity indicator disk to keep

reeds at a set moisture level • Two models: Eb/Bb/alto and bass

clarinet

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Rico Reed Vitalizer Case


• Holds 8 reeds • Uses a humidity pack that keeps reeds at

a set humidity level (both adding moisture and removing it)

• Fits all size reeds (Eb to bass clarinet)

One of the following can be used depending on socio-economic environment, availability, or

preference when selecting a suitable metronome.

Qwik Time QT-5 Metronome


• This metronome does not have a subdivision function.

• Credit card-sized • A-440 tuning tone • Low-battery indicator

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Korg MA-1 Metronome


• Beat-Counting display makes it easier to practice rhythm and phrasing.

• Tap Tempo function makes it easier to quickly set the desired tempo.

• Beat display offers from 1 to 9 beats, plus 8 rhythm types to practice any style of music.

• Can tune any instrument using the 12-step (C4 – B4) chromatic reference pitch

• Adjustable calibration setting (410 – 480 Hz)

• Earphone jack with adjustable volume • Memory backup function and auto

power-off function • Up to approximately 290 hours of

continuous operation

Korg TM-50 Digital Tuner/

Metronome


• Offers both a tuner and metronome, which function simultaneously or independently

• Contains 13 types of rhythms that cover 0-7 beats per measure as well as doublets, triplets, triplets with center beats omitted, quadruplets, and quadruplets with center beats omitted

• Tempo is easily adjustable in a range of 40—208BPM.

• Earphone jack with adjustable volume

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One of the following music stands can be chosen depending on socio-economic environment, availability, or preference.

Hamilton Folding Music Stand


• Collapsible and easy to transport

Selmer Music Stand with Bag


• Collapsible and easy to transport

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EZO DENTURE CUSHIONS AND CIGARETTE PAPER

Uses

• Students who have developed bad habits with biting will not be able to produce a sound until they relax their jaw and lips

• Allows students to play longer without the painful effect of the teeth cutting into the bottom lip

• For students who bite with their lower lip • Can be used for students with braces (and is really a necessity) • Protects the bottom teeth from cutting into the lower lip • Good for relieving tension during long rehearsals

Characteristics of Ezo/Procedures of Usage

• Can sometimes be found at Walgreens or CVS, and is often found in the dental care aisle next to denture creams and fixtures

• Can be found online @ www.prestigebrands.com/ezo.htm • Made from wax and contains 15 total denture molds • Cut each piece into four squares around the corners; cut off the excess and throw

away • Instruct the student to place it on their tongue and mold the square over their

bottom teeth with their saliva • It molds/conforms onto (over) the bottom teeth and becomes a “part” of the

embouchure (thought of and treated like a retainer) • Provides smooth surface for bottom teeth. • Each piece is reusable a few times as long as the student does not have particles of

food inside their mouth • Discouraged if used for a long period of time • A new piece moves around for 1-3 days • Pieces need to be kept in a zip-loc bag • When a piece discolors (no longer is pink) it should be discarded

Disadvantages of Usage

• Students should be aware that use of Ezo increases the distance between the bottom teeth and the reed.

• Inconsistent use/non-use of Ezo may provide discrepancies in pitch and lip pressure on the reed.

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• A student could easily use Ezo as a crutch, as it will be hard for them to stop using it if they have used it over a very long period of time.

Instruments Recommended for Ezo

• Clarinet • Saxophone

Cigarette Paper

Characteristics/Usage

• Can be used in a pinch like Ezo but has multiple uses • Coated with wax • Used to dry pads with excess moisture as a result of playing

Brand

• Recommended brand is Zig-Zag • Price is ~$3.00 and contains a pack of 40 • Can be purchased in a convenience store

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CLARINET METHOD BOOKS

Essential Elements 2000 MSRP $8.99

@ wwbw.com

Standard of Excellence MSRP $6.95

@ wwbw.com

Best in Class MSRP $5.45

@ wwbw.com

Accent on Achievement MSRP $7.95

@ wwbw.com

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SUPPLEMENTAL CLARINET BOOKS

Clarinet Note Speller by

Weber MSRP $6.95

@ wwbw.com

Has theory lessons and terms scattered throughout

book

Elementary Method for Clarinet by Rubank


A more advanced book

First Book of Practical Studies for Clarinet by Nilo

Hovey MSRP $7.95

@ wwbw.com

Good sightreading and intermediate level etudes

Artistic Studies from The French School by David Hite

MSRP $19.95 @ halleonard.com

TMEA All-State Clarinet etudes are taken from this

book

Pares Scales by Gabriel Pares


Great book for elementary/intermediate

scale exercises

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24 Varied Scales and Exercises for Clarinet by

J.B. Albert MSRP $10.95 @ wwbw.com

Scales, arpeggios, thirds and other exercises in all

major/melodic/minor keys

Complete Method for Clarinet – Third Division by

C. Baermann MSRP $15.95 @ wwbw.com

Scales, arpeggios, thirds and

other exercises in all major/melodic/minor keys

The scales have extended

range, and the book contains numerous other exercises for articulation

and tone.

Celebrated Method for the Clarinet by H. Klosé


Contains major and minor scales, thirds and arpeggios

Filled with technical exercises that emphasize scale studies, articulation,

and fingerings

Contains duets

Contains etudes

Selected Studies for Clarinet

by H. Voxman MSRP $6.95

@ wwbw.com

Contains etudes that may be used for TMEA All-State

Clarinet music

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CLARINET CASES, IDENTIFICATION OF PARTS AND REMOVING IT FROM ITS CASE

General Information About All Woodwind Instrument Cases

• Most cases have distinguishing marks somewhere on the case. Identify these marks, and their relationship to the top and bottom of

the case. Most cases have the handles placed on the bottom section of each case. Check to make sure.

• Place all clarinet cases on the floor in front of the student. • Be sure the student understands where each part of the instrument belongs in

the case. Give detailed information on removing the parts from the case. Make sure the student waits for each instruction before performing the task. Be sure the parts of the instrument are returned to the case in the reverse order they were removed.

• All instruments must be assembled in a specific order. Follow this procedure explicitly every time.

• Never leave a closed case unlatched. Most latches open from the bottom up, but this is not always the case. Sometimes buttons slide from side to side, etc. Check each opening mechanism carefully before presenting the information to your students.

• Cases should be protected at all times. Try to find a safe space in the classroom “set-up” for each student’s case. If using an ensemble room for the class, the cases may be opened in the hall. The empty case will remain closed and latched in the hall during class.

• When instruments are in their cases, do not allow students to sit on their cases AT ANY TIME because the keys will get bent.

Identifying Parts of the Clarinet and Removing It Safely From Its Case

• Once the case information is understood, place the case on the floor. Never let the student place the case in his lap.

• Open the case from its correct position. Remember, most latches will lift up. • Identify the lower joint: this joint has a thumb rest on the bottom side and three

silver rings on the upper. When replaced correctly in the case, the thumb rest should never be seen.

• Identify the upper joint: the register key is on the bottom, but call it the “long, skinny” key or the “exclamation point” key. Students will remember this description more easily in the beginning. It also has only two silver rings on the top.

• When new instruments are delivered during the summer, be sure to remove the parts carefully from the plastic wrapping, and remove the corks (which are used to help pads keep their shape during shipping) between the rods.

• Corks on a new beginner instrument are usually really fat mainly due to heat exposure during the delivery process. The parts will not easily fit together. Only someone with experience should carefully sand the corks to the proper

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size. Using very fine sand paper (400), take off a very small amount and wrap it around and turn from side to side, being careful not to scrape too much as it could damage the wood or mouthpiece. After this process, test it many times until you have the correct fit that can easily be controlled by a small child.

• For both new and used beginner instruments, it may be necessary to apply cork grease lightly to the corks after instruments are delivered during the summer. Making a ring with your thumb and forefinger, work the cork grease into each cork to create enough friction to properly lubricate the corks. Students will eventually need to be taught to apply cork grease as well. Even if the student understands how little is needed, you still must watch them apply the cork grease several times before you trust them to do the job alone. Never let the student have his own tube of cork grease in the beginning of the learning process. After he has proven his competence, he may have the tube. If any given cork looks dull, and the tenon is difficult to fit with the receiver, a small amount of cork grease may be needed. Teach him to ask you first before applying. Once you know he has made the correct analysis, the student may make his own decisions. Cork grease tubes or liquid grease can explode or melt inside the case if the respective lids are not completely closed. It is possible that damage to the key mechanism will result if cork grease comes in contact with the wood, metal or even other maintenance kit items.

• The barrel of the clarinet will look like a barrel, and will have a large end and a small end. The large end is placed on the upper joint, and the mouthpiece (to be identified later) is placed into the small end.

• The bell looks like a bell and is placed on the lower joint. • The mouthpiece has a thin end and a fat end. The top is curved, and the bottom

(table) is flat. The importance of these features will be explained later. • The ligature is usually metal for the beginning instrument, having both a large

end and a small end. The screws for the ligature will always appear on the right side of the mouthpiece as the student looks at the mouthpiece from the flat side. Screws for ligatures will never appear on the left side of the mouthpiece.

• The reed is basically the same shape as the mouthpiece. It has a thin end and a fat end…..a flat side and a curved side.

• The reed/mouthpiece cap (protector) should be made of plastic (and sometimes metal with attic horns) for the beginning instrument. If metal protectors are used, be aware that they will most likely scratch the mouthpiece and perhaps damage the tip of the reed. Using a plastic protector will result in fewer broken reeds. Students should always keep their mouthpiece in a mouthpiece cap when the instrument is not being played (including moving from a warm-up room to a concert stage). A single chip in a mouthpiece can render it useless, causing students to have to purchase a new one.

• The table (flat part) of the mouthpiece may not necessarily be exactly flat; sometimes they warp over time and with usage. To fix this, use the finest sandpaper (400). Place the sandpaper on a piece of glass. Rub the table of the mouthpiece on the combined surface of sandpaper and glass. Check often to see if the mouthpiece does not “rock” when placed against the plate glass. The

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tip of the mouthpiece can also be carefully rubbed on the combined surface of sandpaper and glass.

• Periodically have mouthpiece checks. Check for chips on rails and on the tip. Also check for chips on the inside of the tip. Give written work to your students while you check each mouthpiece carefully. A chipped mouthpiece can be devastating to a beginning clarinet student’s embouchure development.

• No music, folders, flipfolders, rolled up music or unnecessary objects may be placed in the case on top of the instrument at any time…..unless they can fit inside the nook meant for these items.

• Students should not be allowed to keep anything in the bell (i.e. reeds, mouthpieces, cork grease, etc.). Pertaining specifically to bass clarinet, some of these items could actually get stuck in the bell/instrument.

• Look at the case in relation to the parts of the clarinet. Most cases are molded to the shape of the particular parts. Be specific when making this point to your students. Take your time, and repeat the information many times. When parts are placed correctly in the case, all silver rings are pointing toward the ceiling. Damage will occur if the parts are placed incorrectly in the case.

Storage of Mouthpiece and Barrel (when allowed to be taken home by the students but not in the actual clarinet case)

• Provide students a Ziploc bag…..or have students bring a sock or padded bag with some sort of identifying feature

• Ziploc bags/socks should be kept in a box in the front of the classroom, or stored safely in an office or filing cabinet.

• Bags/socks should only be taken out of the classroom by students after school. • Bags/socks should only be brought into the classroom prior to the start of

school. • Contents of bags/socks should never be kept in backpacks, bookbags, pencil

pouches, etc. • Have some sort of accountability system in place when students leave their

bags/socks overnight. ! • Be on the lookout for students coming into your classroom with bags/socks

(and later clarinet cases) which were kept in their lockers or gym lockers. ! Contents of Ziploc Bags/Socks

• Barrel • Mouthpiece • Mouthpiece Cap • Ligature • Reed Guard • Reeds • Cork Grease • Swab

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PARTS OF THE CLARINET

Mouthpiece

Barrel

Lower Joint

Upper Joint

Bell

Ligature

Register Key

“Throat tone” keys

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CLARINET ASSEMBLY AND INSTRUMENT/BODY RATIO

• As you begin to teach the clarinet, give only the “set-up” (mouthpiece, barrel and ligature), as well as all related maintenance kit items (reeds, reed guard, mouthpiece cap, swab and cork grease), to the students in a plastic bag with the student’s name on it. The other parts (upper joint, lower joint, and bell) will remain in the case until further instruction is given.

• Students should be told that after sound production has been taught on the “set-up,” they will be allowed to take home the body of the clarinet as well. To sell this concept to the parents, explain the money factor. It is almost as expensive to replace one broken item as it is to buy an entire instrument.

Assembly of the mouthpiece and barrel “set-up”

1. Open the case, which should be on the floor in front of the student. 2. Put the reed in the mouth to moisten and smooth the top and bottom of it.

Moistening the bottom of a reed helps create a seal, which will result in better response.

3. Pick up the barrel with the right hand, and the mouthpiece (without the ligature) with the left hand. Never grab the tip of the mouthpiece; always grasp around the middle.

4. When assembling the mouthpiece and barrel, students should use slight twisting motions. No cork should be showing.

5. Place the large end of the ligature over the mouthpiece carefully. Make sure the screws are on the right (some “stock” ligatures have screws on the front of the mouthpiece) as you look at them from the table of the mouthpiece. Bonade ligatures have two screws……BG ligatures have one screw. If using Rovner ligatures, the leather is in the front and there is one screw in the back.

6. Lift the ligature slightly with the thumb and forefinger of a chosen hand, and carefully slide the reed onto the table of the mouthpiece. The reed is placed fat to fat, flat to flat and thin to thin.

7. The edges of the reed should be aligned along the rails/sides of the table of the mouthpiece.

8. Look for a thin black line/sliver at the tip of the mouthpiece. 9. The ligature should cover at least one of the two lower lines that appear on

most quality mouthpieces, and definitely below the upper line on most quality mouthpieces.

10. For ligatures with two screws: tighten the lower screw snuggly, and the top screw to its first point of resistance. For ligatures with one screw: tighten the screw to its first point of resistance. Generally speaking,

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ligatures that are placed too low result in control issues; ligatures that are placed too high prohibit reed vibration.

11. Put the mouthpiece cap on the mouthpiece and barrel set-up. 12. Lay down the set-up gently in the case.

Assembly of the body of the clarinet (assuming that the assembly of the mouthpiece and barrel set-up is already completed and is kept in a safe place)

1. Pick up the upper joint. Use the right hand, and lay it in your left hand. The palm of the left hand is toward the ceiling. The long skinny key goes away from the body and toward the floor.

2. Pick up the lower joint with the right hand between the pancake keys. The palm of the right hand should be toward the floor and the thumb rest should also point to the floor. Lock the thumb and forefinger of the right hand around the joint.

3. Place the middle finger of the left hand over the covered key between the silver rings and press down. This will lift the bridge key.

4. The student cannot place two tenons or two receivers together. The tenon on the bottom of the upper joint fits into the receiver of the lower joint. Place the tenon into the receiver in a horizontal position. Any angle could result in damage to the tenon. Twist and push in opposite directions. No cork should be showing. Assist students who are not strong enough to accomplish this task.

5. Check to see if the keys are in line and facing the student. Run the index finger of the left hand down the silver rings to make sure they line up.

6. Slide the left hand down between the pancake keys on the lower joint. 7. Holding the connected upper and lower joint with the left hand, pick up

the bell with the right hand. 8. Place the bell on the right knee. 9. Place the bell and lower joint together; twist and push. No cork should be

showing. 10. Holding the assembled body of the clarinet with the left hand, slide the

hand to the top of the upper joint. Using the right hand, twist and push the assembled mouthpiece and barrel to the clarinet. Make sure the table of the mouthpiece is in line with the long skinny key.

Instrument Disassembly and Swabbing

1. Holding the assembled body of the clarinet with the left hand, slide the hand to the top of the upper joint. Using the right hand, twist and pull the assembled mouthpiece and barrel off of the clarinet.

2. Put the mouthpiece cap on the mouthpiece and barrel set-up. 3. Lay down the set-up gently in the case and grab the silk swab. 4. The clarinet must be held upside-down so the swab can be dropped

through the bell and through the bottom of the upper joint with slight tugs. When holding the clarinet, one hand must be at the bottom of the upper

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joint. Do not yank or pull the swab from side-to-side, but rather up and down. Pulling the swab too forcefully or quickly may result in the swab getting stuck or torn by the register flu inside the upper joint of the clarinet.

5. After swabbing the body, slide the left hand down to the pancake keys. With the right hand, remove the bell with a twisting motion and place it in the case correctly.

6. Slide the left hand to the top of the upper joint. Place the middle finger of the left hand over the covered key between the silver rings and press down. This will lift the bridge key.

7. Place the right hand over the pancake keys. Take apart the upper and lower joint horizontally with a twisting motion.

8. Place the lower joint back in the case. Make sure the thumb rest is down so that it cannot be seen. The silver rings should be pointing straight up.

9. Place the upper joint in the case to that the rings are facing up and the register key (exclamation mark key) is facing down. Be careful not to bend the side/trill keys when putting the upper joint back in the case.

10. Pick up the set-up with the left hand and take off the mouthpiece cap. 11. Loosen the ligature screw(s). Do not let the students loosen the screw(s) so

much that the screws fall out! 12. Remove the reed by lifting the ligature with the thumb and forefinger,

being careful not to have any contact with the tip of the reed. “Vacuum” the reed through the lips……blot the reed on the pants/shorts if necessary……and put in the reed guard.

13. Remove the ligature from the mouthpiece and place it on the stand. Take apart the mouthpiece and barrel with a twisting motion. Make sure students do not grab the tip of the mouthpiece!!!

14. Pick up the swab and wrap the swab around an index finger to clean the receivers of the barrel and mouthpiece, as well as the tip of the mouthpiece. Now the barrel can be placed in the case.

15. Place a dry or broken reed back on the mouthpiece without tightening the screws. The ligature must be put on so that the screws are facing the same direction when put on earlier. Consider using an old or unused DRY reed to be placed on the mouthpiece at the end of each playing session, whether it is at school or at home. Always leave the ligature on the mouthpiece with this “dry reed,” which is replacing the “class reed.” This will prevent damage and allow the ligature to form and bond more correctly with the mouthpiece. A “USED/WET” REED WILL RESULT IN MOLD OR MILDEW FORMING ON THE REED, IN THE MOUTHPIECE AND THE CASE.

16. Put the mouthpiece cap on the mouthpiece after the reed and ligature are secured. Place the mouthpiece in the case with the screws of the ligature facing upwards.

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• Students should be given CLASS TIME to clean out their instrument, and store their reed and instrument properly in the case.

• When the clarinets have to be set down on the chair or floor for any reason (leaving class, breathing exercises where students are standing, etc.), it is important that the thumb rest is facing down. This is to prevent the keys from being damaged.

• When students must set down their instrument during a class, the mouthpiece (or mouthpiece and barrel) needs to be removed and placed on the chair (mouthpiece cap should be placed on the mouthpiece); the body of the instrument can then be placed underneath the chair in the above-stated manner.

• SEND SEGMENTS OF THIS INFORMATION HOME TO PARENTS. CHOOSE THE INFORMATION YOU THINK WOULD BE HELPFUL FOR HOME PRACTICE AND INSTRUMENT CARE.

Instrument/Body Ratio • Familiarize the student with the instrument/body ratio by using only the upper and

lower joints. • The left hand should gently hold the upper joint in the same manner used to assemble

the instrument--without putting pressure on the long keys. • The right hand should hold the lower joint in the same manner used to assemble the

instrument--without putting pressure on the long keys. • Move the instrument up and down, side to side by using the elbows. All aspects of

the brass instrument information hold true here. The body playing position also holds true from previous information. We are merely getting used to the weight of the instrument; the position of the instrument; and the angle of the instrument without using correct hand position. The student should not squeeze the instrument as these exercises are practiced. Keep the palms of the hands soft.

• Familiarize the student in this manner for a few days before placing the fingers in their correct position.

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BASS CLARINET NECKS AND EFFECTS ON POSTURE

Necks

• There are two basic types of bass clarinet necks-- “Bay” necks and “Goose” necks. “Bay” refers to Charles Bay, who owns a company that produces various clarinet and saxophone accessories.

• Bay necks are generally found on Buffet Prestige bass clarinets. • Goose necks are generally found on Selmer bass clarinets, as well as most other

brands that are manufactured.

“Bay” style neck “Goose” style neck

• Notice the difference in the curvature on the bottom left side of the neck. The Bay style neck is curved up considerably more; this angles the mouthpiece higher as well.

• When setting the instrument with the student, the Bay style neck makes it much easier for the student to achieve the mouthpiece angle, which should be very similar to a B-flat soprano clarinet.

Instrument angle and posture • The instrument angle for students using a Bay style neck is different from that of a

goose neck.

Instrument angle with Bay style neck Instrument angle with goose neck

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Mouthpiece angle with Bay style neck Mouthpiece angle with goose neck

• The student should sit on the edge of their chair with their feet firmly planted on the ground shoulder width apart. As with the teaching of all wind instruments, the student’s feet should be under their knees.

• The bass clarinet should be between their legs. Do not let students play the bass clarinet on either side of their legs. This will cause severe hand position problems. Female students might be discouraged from wearing skirts if it is a hindrance.

Instrument angle with a Bay style neck • The student should keep the instrument close to vertical. The instrument can be tilted

in toward the body for hand position purposes, if necessary. • The student should have the peg or bell sit between their heels or slightly behind the

heels.

Instrument angle with a goose neck • The student should tilt the bass clarinet toward their body so that the peg or bell sits

under the front chair legs. • Keep an eye on the student’s mouthpiece. It should have an upward angle of

approximately 20 to 30 degrees. • It is okay for the student to learn forward with their whole upper body bent at the

hips. Do not let the student bend the upper part of their back in a slouched position to reach the mouthpiece.

• To prevent incorrect right hand position, a neck strap is sometimes recommended. Without a neck strap, the student will tend to rest the crook of their right hand underneath the two bottom side keys or on the rods to hold up the instrument; this is incorrect.

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CLARINET HAND POSITION

RIGHT HAND POSITION 1. Place the right hand first, with the lower joint supported by the leg. The right

hand lifts the instrument, and the placement is less difficult or complicated. The upper joint can be gently held by the left hand as you begin the awkward process of finding the correct place for every finger.

2. Place the fleshy finger pads over the silver rings first. Without putting pressure on the finger tips, feel the pads fall into the holes.

3. The hand will begin in a straight across angle, and will be in the “flat-C” position…not too curved and not too straight.

4. Place the thumb on the thumb rest between the rest and the leg. The thumb nail touches the rest. Very little (preferably, no) flesh will touch the thumb rest. The thumb joint must always be to the right of the thumb rest, never behind it.

5. Turn the clarinet out in front of the student like a spyglass and make sure there is open space between the body of the clarinet and the hand.

6. The pinky rests on the most comfortable of the four keys it will use later in this process (either key #1, which is the low F key—or key #2, which is the low G#/Ab key). The pinky should not be straight; it needs to be curved. Watch for pinkies that disappear either under the clarinet or under the pinky keys.

7. The middle finger will appear higher because it is longer than the other fingers.

8. No part of any finger should touch any rod. 9. Practice moving the fingers up and down from the big knuckles. Do not let

the other two knuckles move. The finger pads should fall directly into the holes. In the beginning the pinky can move up and down also.

10. Lean the clarinet back on the left shoulder and look at the right hand fingers as you do this. While doing this, the left hand must remain in its proper “baby position” holding the upper joint.

11. Make sure to feel all parts of the ring with the finger pads. 12. Keep the right hand straight across the body of the clarinet for at least 6 to 8

weeks before moving into the more correct angled position. This makes it easier for the ring finger and pinky to function more comfortably.

13. Do not include side keys in the initial hand position information. If asked, tell them once the hands can move correctly using the rings and tone holes, they will be allowed to learn to use the keys on the side.

LEFT HAND POSITION *critical and paramount to the success of playing

the clarinet 1. While holding the lower joint gently (not using correct hand position but the

proper “baby” position) with the right hand as it rests on the leg, place the middle knuckle of the index finger on the G# key at the top of the upper joint.

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Place the first knuckle on the A key with the fleshy part of the tip angled down toward the first silver ring. The teacher will have to identify these “named keys” for the student.

2. Place the middle finger over the second silver ring. 3. Place the ring finger over the third hole with no silver ring. 4. Place the thumb over the ring on the back of the upper joint with the fleshy

part of the end being aware of the long, skinny key (register key). The angle of the thumb should be at “1:00/2:00.”

5. The pinky will rest on the most comfortable of the four keys it will use later in this process (either key #1, which is the low E key—or key #4, which is the low C# key). The pinky should not be straight; it needs to be curved. Watch for pinkies that disappear either under the clarinet or under the pinky keys.

6. Keep the hand in an adjusted “Flat-C” position and the wrist slightly up. The wrist must stay in line with the rest of the forearm.

7. Continue to rest the clarinet on the leg and watch to see if the left hand follows the line of the upper joint to form the angle of a “V” with the upper joint.

8. Do not allow the knuckles of the index finger to lose contact with the G# and A keys. For example, A should not be played without the index finger also touching (not pressing) the G#/Ab key.

9. If the thumb is not being used to play specific sounds on the instrument it MUST NOT touch the body (wood) of the instrument.

10. ALWAYS KEEP ONE HAND ON THE CLARINET AT ALL TIMES. NEVER SIMPLY LAY IT IN THE LAP.

11. Beginners can have “fly-away” fingers in the beginning as long as they fall back down to the correct rings. The exception is the left index finger. If we try to get them to keep their fingers in the “finished” position too soon, the hands can become too tense. Always feel the palm of the hands to check for the softness of the fingers. There are more bones in this area of the hand than any other part of the body. If the palm is soft, all other parts of the hand will be as naturally soft as is possible. The pinkies should have comfortable “home keys” they touch all of the time in the beginning stages.

12. Beginning clarinet hand position is very awkward, thus taking longer to achieve and more patience from the teacher and student is required. Do not get in a hurry.

FINGER EXERCISES 1. All fingers in each hand move together. Call out the hand you wish to move.

The students move all of the fingers in that hand down to seat into the rings and tone holes. The right hand thumb obviously does not ever move when the teacher asks for “RIGHT”, but the left hand thumb will move to its ring with the fingers of the left hand when the teacher asks for “LEFT”.

2. Next, we move the fingers one at a time beginning with the left hand. The thumb and first finger are already down in this exercise, and each additional finger in both hands will be numbered two through six from top of the upper joint to the bottom of the lower joint. The fingers will move down or up

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depending on their starting position, as the number is called by the teacher. We do not use the pinkies when we first begin this exercise. Later, they will be numbered seven and eight.

3. Watch the fingers to see that they move smoothly, cover the holes, stay in natural position and move up and down from the big knuckle only. The student should understand that the movement is aided by the soft tissue of the palm of the hand, rather than the bony texture of the top of the hand.

4. Next, we move the fingers in combinations: one, two….one, two three…….one, two, three, four……one, two, three, four, five…..one, two, three, four, five, six………six, five, four, three, two, one……five, four, three, two, one…….four, three, two, one……three, two, one………two, one…… Later in the development the thumb movement is added.

5. Using these exercises, the fingers move in all of the ways they move to play the clarinet: all together, one at a time, and in combinations.

6. When learning to use the pinkies, we number the keys one through four. The teacher calls out the number, and the student moves the pinky in either hand in a circular motion to the numbered key. Call the numbers in order: call the numbers backward: call the numbers diagonally: call the numbers in any order you wish. Begin using the pinkies separately, and then show the students the correlation of the keys on the left and right side of the clarinet.

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REED MANUFACTURERS AND REED STRENGTH

Reed Manufacturers:

Vandoren (blue box) • Most widely used and recommended for any

level of playing • Available in strengths 1 through 5 • Clarinet – MSRP $21.95 @ wwbw.com

Alto saxophone – MSRP $27.95 @ wwbw.com

Vandoren V-12 (silver box) • For more advanced players • More consistent reed to reed, but do not last

as long as blue box reeds (has to do with how they are cut)

• More expensive than blue box reeds • Better “out of the box” than blue box reeds • Slightly harder than blue box reeds • Clarinet – MSRP $28.95 @ wwbw.com


Vandoren V21 (light blue box)

• For more advanced players • More consistent reed to reed, but due to the

thinner tip each reed does not last as long as the blue box reeds

• More expensive than blue box reeds • Better “out of the box” than blue box reeds • Slightly softer than blue box reeds • Clarinet – MSRP $28.95 @ wwbw.com


Vandoren 56 (made for clarinet only) • Cut from thicker cane • MSRP $28.95 @ wwbw.com

•

Mitchell Lurie (made for clarinet only) • For lower socio-economic areas, these reeds

are an acceptable brand. • A cheaper substitute for Vandoren blue box

reeds • MSRP $18.48 @ wwbw.com

Rico Reeds

• Less expensive, but not the best quality

• Acceptable for beginners in a lower socio-economic area, but not recommended for long term use

• Clarinet – MSRP $18.99 @ wwbw.com Alto saxophone –MSRP $22.99 @ wwbw.com

D’Addario Reserve Clarinet Reserve – blue/white box Clarinet Reserve Classic – purple/white box Alto saxophone Reserve – green/white box • More expensive than blue box reeds • Softer reeds which produce a stuffier

sound • Considered perfect “out of the box”,

but do not last a long time • Clarinet – MSRP $24.99

@ wwbw.com Alto saxophone – MSRP $28.99 @ wwbw.com

G Gonzalez (made for saxophone only)

• Cane comes from Argentina. • More consistent than Vandoren

reeds, but will not sound as good • Available in ¼ strengths • MSRP $21.95 @ wwbw.com

La Voz (recommended for saxophone only) • Acceptable for beginners in a lower socio-

economic area, but not recommended for long term use

• Less expensive option • MSRP $22.95 @ wwbw.com

• Brands to avoid o Legere o Rico Royal o Riyin o Rigotti o Marca o La Voz – Acceptable for beginners in lower socio-economic areas o Alexander o any flavored reeds o any plastic reeds

• Specifically for saxophone, you are recommended to avoid: o Vandoren Java (green box) or Vandoren ZZ (black box), as these are file-

cut Java reeds o Vandoren V16 (green box), which are reeds used for jazz playing o Vandoren “hand select” reeds (black box); these reeds are over $40 a box!

• In handouts given out at the beginning of the year, inform parents about purchasing

reeds. Try to arrange it so students only buy reeds from the school. Be sure the parents know that by purchasing the reeds from the school, they will receive a “___ percent” discount. Make arrangements with your road man to facilitate this process.

Reed Strength • Reeds generally come in half strength. Strengths that are offered vary by

manufacturer. o Strength is relative to the thickness of the reed. For example, a 2½ reed is

thinner than a 3. o Larger strength reeds require more air; therefore, it is vital that beginners start

on a 2 or 2½, because they are still learning how to use their air properly. It is important to know that some reed manufacturers produce 1 and 1½ strength reeds!!!!! NOW….. considering the fact that professionals generally play between 3½ to 5 strength reeds, it would naturally make sense that MS/JH students not be playing on these stronger reeds!!!!!!!!

o Reed strength is also dependent on the climate and player’s preference. o REFRAIN FROM PRESENTING THE “BADGE OF HONOR”

PHILOSOPHY: For example, if your students are playing on 2½ strength reeds in their beginner class, they should not be told that they will advance to a 3 strength reed their second year…to a 3½ strength reed their third year…etc. You must carefully base your decision to advance a student’s reed strength on the following characteristics: 1. How students look—do their faces look natural when they are playing? 2. How students use their air—if they are not using air correctly, they will

not have success on any reed strength. 3. How students sound—is their sound stuffy? Do you hear more air than

tonal resonance in their sound? • If a clinician or mentor, after hearing your students, suggests a softer

reed strength, students should be trained to accept this professional advice. It is your job (as well as experienced private teachers if applicable) to closely monitor each individual student, as they will be playing and developing at different levels. With that said, students should move up a reed strength when the teachers feel it is time.

• It is perfectly acceptable for first/second year students to remain on 2 or 2 ½ strength reeds for a long period of time. Second and third year players may progress to 3 strength reeds as time goes by.

• Young band directors are encouraged to consult with an experienced private lesson teacher or band director/colleague when trying to make decisions regarding appropriate times to advance reed strengths for students.

Reed Strengths Specifics Regarding Saxophone

• Most advanced alto saxophone players should remain on Vandoren 3s for classical saxophone playing throughout the duration of their public school experience.

• MS/JH tenor and baritone saxophone players should begin on Vandoren 2 ½s. • HS tenor saxophone players may progress to Vandoren 3s…maybe 3 ½s. • HS baritone saxophone players may progress to Vandoren 3s.

Reed Qualities • All reeds are hand-made. Every reed will sound different and will slightly vary in

thickness as well as quality. The strength can be the same, but the individual cut will have effects on the sound quality. Hard and soft does not refer to the actual reed strength, but instead the individual cut of the reed. There are two distinct categories:

o Hard § Thicker (more wood) § Requires more air § Requires a firmer embouchure § Can potentially allow students to bite more § Generally sounds airy/fuzzy, brittle, unclear, and is sharper in pitch § Playing with a hard reed can create tension in the face/embouchure, as

well as the jaw and neck. o Soft

§ Thinner (less wood) § The embouchure does not have to be as firm to produce a good sound. § Does not allow you to bite as much § The sound will be soft, honky, less resonant, unfocused, and

sometimes spread. § Playing softly will be easier, but louder dynamics will have a bright

sound. Louder dynamics will also be flat in pitch. o Try to find a medium “in between” reed that produces the best, desirable

sound for each individual student. Reed Life Cycle

• The cane is hand cut in the south of France in Var. Reeds are then individually packaged and shipped.

• Breaking in a reed (explained in Soaking, Breaking In and Adjusting Reeds handout).

• Reeds that are rotated can last for 2-4 weeks depending on how much they are played on.

o The more a reed is played on, the softer it gets. o As reeds get older, they lose resonance. o If a reed is used too long in one sitting, the moisture that has been collecting

in the pores of the reed will cause mold to build up. • Reeds that are too thin and/or worn down from excessive use will become

unacceptable in terms of quality and sound. o The response will be slow. o Vibrations will be slow. o The reed becomes thin and will produce an undesirable, spread sound. o Students will start to squeak on starts because the reed is harder to control. o MOLD will become visible. o These are all signs that a reed needs to be replaced.

Finding a Good Reed

• Just because a reed is new, it does not mean that it will sound good. • You can tell a good reed from a bad reed by sight.

o Good reeds are yellow or crème colored on the heart.

o Good reeds look “clean.” o Bad reeds have visible veins. o Bad reeds have a tip that is too transparent (this can be seen if a reed is held

up to a light). • You—as the teacher—reserve the right to tell a student that a reed can no longer be

played. Be professional and sensitive when telling a student a reed is bad and needs to be thrown away. Parents should be made aware of this information before their child is officially recruited to play a single reed instrument.

• It is also important for parents to understand that as their child becomes more advanced/experienced, their reeds can last longer…..AS LONG AS THE STUDENTS ARE FOLLOWING ALL INSTRUCTIONS GIVEN DURING CLASS!! As this process evolves over time, reeds may not need to be purchased as often as they were when the students were first and second year players!

• You are encouraged to create a “Reed Graveyard” for students to deposit reeds that need to be disposed of. This can be labeled and decorated as a motivating factor for students to want to deposit reeds… as opposed to leaving them on music stands, the floor, or in their cases. L

• To monitor quality of reeds, be sure to hear students play individually EVERY

DAY…. regardless of their experience and/or playing ability. Reed Guards and Reed Rotation

• Students must have reed guards with four completely broken in reeds. • Students must be taught from the beginning to rotate each of their four reeds, which

should always be in their reed guard. • Students should be trained to play on a DIFFERENT, BROKEN IN REED during

every class period/rehearsal or performance opportunity. For example, a student should not play on a reed more than one performance opportunity on any given day (exceptions—warm-ups and/or rehearsals prior to major individual or group auditions/performances).

• Reeds with chips, mold, etc., should never be played on—or even kept—in the reed guard. In addition, reeds that are too thin—or do not sound good for whatever reason—should never be kept in the reed guard.

• Reed guard checks should be daily in beginning classes at first. Daily grades should be given when having a reed guard check. Each of the four reeds should be 25%.

• Reed guard checks can be periodic in MS/JH and HS ensembles as often as you feel necessary. Grades can be given as motivation.

• Reed guards should be accessible during daily rehearsals, as well as any off campus rehearsal, performance, contest, festival, etc. Reed guard accessibility pertains to them being outside of their cases, not inside.

SOAKING, BREAKING IN AND ADJUSTING REEDS

Soaking Reeds

• Soak/break in the very first reed…. for several minutes…. together in class while the teacher is closely monitoring the students. Following this process, the teacher should assign three additional reeds to be broken in for homework. With that said, reed guards should be going home with students each and every day—whether or not the entire instrument is going home.

1. Remove the reed from the plastic reed holder. The left hand should hold the plastic reed holder, with the thumb on the reed guard logo. The right hand thumb and index finger should carefully slide the reed out of the plastic reed holder, with the tip coming out first.

2. Hold the reed with the thumb on the words and the index finger on the back. 3. Lay the reed on the tongue. Talk to students about the unusual taste of the reed, and

assure them that with time, this process will become second nature. 4. Draw the tongue in. The teeth should not have any contact with the reed. 5. Place the reed in the mouth to moisten and smooth the top and bottom of it.

Moistening the bottom (butt) of the reed helps create a seal around the mouthpiece, which will result in better response.

6. Flatten the tip of the reed by putting the side with words on the table (flat part of the mouthpiece). Place the thumb on the on the tip of the reed, (which is now on the table) and wiggle the reed back and forth to get any warps out. This helps with over-all reed vibration.

7. Vacuum reeds at the end of class (have students suck air through the mouthpiece to eliminate water on the reed).

8. At the end of each class period/practice session, suck the air through the mouthpiece to eliminate water on the reed. Reeds can now be “vacuumed” by carefully removing the reed through the lips. Reeds can furthermore be blotted on shorts/jeans/etc. This will eliminate excessive saliva to remain on the reed…which will eventually mold if not vacuumed. !

9. With the plastic reed holder held in the same manner as discussed in #1, carefully slide the butt of the reed into the reed guard first, so that the tip is not destroyed.

Breaking in Reeds

• There are two specific reasons why breaking in reeds is important: 1. so reeds last longer 2. so students will always have reeds on hand

• There is a process involved to properly and effectively break in a reed: o Break in two to four reeds at a time. Most reed guards have four slots. Break

in two reeds at a time to avoid all four reeds dying at the same time. o Students should soak reeds as described in #5 in the previous section. Reeds

should not be soaked for too long; otherwise, they will become waterlogged. o Students should play on each new reed for no longer than five minutes. If the

tip becomes transparent, then the student should switch reeds. The reed

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should not become waterlogged, and it should not be used when playing in extreme registers.

o After following this procedure for three days, students can start playing on the reeds for a longer period of time. As this takes place, students and teachers can start to judge the sound quality of the reed and make any necessary adjustments.

Tricks for Adjusting Poor Quality Reeds **secrets that students need not know….with

the exception being very advanced HS students • Every reed is different and will sound different. • Students should learn to be picky about the sound quality of reeds. • When dealing with a reed that is too soft:

o Move the reed up on the mouthpiece slightly. This is only a temporary “quick fix” if there are no other reeds available. The ligature can also be raised slightly on the reed/mouthpiece. Do not raise the ligature above the bark (polished bottom part) of the reed.

o Clip the reed using a reed clipper. This cuts off part of the tip of the reed. Only an experienced lesson teacher or a very knowledgeable band director should be clipping reeds.

o Set the reed aside and let it sit/age. Time and weather will change the quality of a reed.

o Colder climates make certain reeds sound thinner. Students may need to wait for warmer weather before coming back to that particular reed.

• When dealing with a reed that is too hard: o For mildly hard reeds, “polish” the reed on a sheet of paper. Place the flat part

of a reed (not the side with bark) on the paper and press/rub in circles with 2 or 3 fingers. This must be done on a flat surface.

o For mildly hard reeds, the reed can be lowered slightly on the mouthpiece so that the thinner part of the reed is being played. Be aware, however, that this is only a quick fix. The ligature can also be moved slightly lower on the reed/mouthpiece, if necessary.

o For slightly harder reeds, sand down the flat part of the reed with 600 grit sand paper (or finer). The reed must then be polished.

o For very hard reeds: " Determine which side of the reed is harder. " Play on the left and right side to see which side is more difficult to

produce a sound on. " Use a reed knife and scrape off wood from both sides surrounding the

heart. Do not scrape off the tip or the heart of the reed. Remove more cane from the thicker side. Be very careful not to scrape off too much.

o Again, only an experienced lesson teacher or a very knowledgeable band director should be scraping reeds.

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o Try pushing on the tip of the reed with the thumb while it is on the mouthpiece. Close the tip opening and then press a little more 2-3 times. Check to see if the reed is softer.

o Ask an older/more experienced private lesson teachers for even more tricks that may be out there!

o Sometimes a student is simply dealing with a bad reed………and throwing it away is easier than the frustration caused by the many attempts to fix/adjust the reed. !

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CLARINET EMBOUCHURE

• Students must be able to use air correctly before beginning to learn the

clarinet embouchure. • Use the mouthpiece and barrel for better control. • The teacher should place the mouthpiece in the beginning. • Some teachers prefer to place the mouthpiece against the upper teeth first; others

prefer to place the bottom lip first, and then the upper teeth and top lip. The latter is preferred.

• The student needs to remember how it feels and sounds. • Once the teacher has demonstrated how it feels and sounds, the student can hold

the mouthpiece and barrel in place and watch his face in a mirror to make sure nothing moves or looks unnatural. Then, the student remembers how it looks, feels and sounds.

• It is best to hold the mouthpiece with two fingers and a thumb at the very bottom of the barrel. The fingers should have absolutely no contact with the mouthpiece or ligature.

• The mouthpiece is held by the teeth, not the lips. • The upper teeth rest on the mouthpiece material (patch). • The students must get used to having a lifting sensation against their upper teeth.

Using rubber gloves (separate for each student), show the student how much pressure they will feel. Do not allow the student’s head to move at all.

• The lower teeth feel the reed through the lower lip that covers them. • The lower lip covers the lower teeth like a fitted sheet covers a mattress. • The back teeth are naturally apart. • The tongue is in the “li” position…..slightly up, but not pulled back. • Using the index finger, gently push the lower lip toward, but not rolled

over the lower teeth. Lick the part that goes over. That is the correct amount. • The bottom teeth should not respond to the placement of the mouthpiece by

moving backwards, and may move slightly forward to create a smooth area in the chin called the valley. The student should not feel any tension in his jaw as the mouthpiece is placed on his bottom lip.

• The corners are toward the mouthpiece. Ultimately, the corners will be toward the mouthpiece and down.

• There should be no wrinkles in the lower lip, and red flesh must be seen on either side of the mouthpiece.

• The lower lip that is not under the reed stays in front of the teeth. • Never tell students to pull their lips over their teeth. Pulling and stretching makes

lips thicker. • The upper lip rests on top of the mouthpiece in front of the upper teeth. • The upper lip should be soft and pliable, and follow the shape/contour of the

mouthpiece. • Both the top and bottom lip should always feel soft and natural.

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• There should be no lines or dimples that do not appear in the natural face. The face essentially should be “zombie”-like.

• The air is directed at the clarinet, not into it. • The air is focused to an imaginary dot in the middle of the reed where the flat

part meets the tip. • The teacher can help the student feel how the lip, the lifting and the valley feel. • Enough mouthpiece must be past the lips into the chamber of the mouth to allow

the reed to freely vibrate. • As the student focuses the air at the “dot”, an instant vibration should occur. • There must be a resonant fifth line treble clef concert F# sounded. • If the sound is stuffy, the student may be holding the mouthpiece with the lips. • If the sound is strident and brittle, the student may have too much mouthpiece

in his mouth or may be using too much unfocused air. • Be sure the student can control the air well enough to find the correct balance of

air and resistance to create the sound you want on the mouthpiece and barrel. • Remember that the mouth can be too open; the teeth can be out of position; the

lips can be too loose and puffy or can grip; the tongue can be too far back in the mouth; the student can be lifting too little. All of these will result in a sound you will not wish to create. • Keep making subtle adjustments to the angle, amount of mouthpiece taken, etc.

Just a slight movement can really improve the resonance of the vibration. • Keep the body and face calm and still while learning this embouchure. • The embouchure is a constant work in progress. Special attention should be given

to the contact of the upper teeth with the mouthpiece material. The teacher can attempt to move the mouthpiece out of position to make the student aware that something is incorrect.

• It is easier to make something firmer than to get rid of unnecessary tightness. • If the sound is not clear, instant and resonant on the mouthpiece, the sound on

the clarinet will not be resonant and beautiful. • When the barrel is placed on the clarinet, the first attempt at sound production

should be made with the teacher holding the instrument for the student. This will be demonstrated.

• Trade back and forth with the teacher holding: the student holding: etc.

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MAKING THE FIRST CLARINET MOUTHPIECE AND BARREL SOUND

• Initial sound production cannot be introduced until correct posture and breathing

has been successfully taught. Include these two essential components as “part” of the first sound attempt(s).

• Relax position and ready position should already be taught and drilled prior to sound production. As sound production is occurring, playing position must be incorporated. Students need to understand that ready position means they are ready to play. Playing position means that they are set (physically) to play. Students should not be allowed to sit in relax position during class, except maybe during announcements, paperwork or things not pertaining to playing. If one word instructions are preferred, then use “ready” and “set.”

• Try to get every student to make a sound on the first day of sound production. If you will not be able to accomplish this, make a disclaimer before you start. The students who do not end up getting to make their first sound—on the first day—will be the first students you will start with on the second day! Students should not be surprised or frustrated if you do not get to them on this first day.

• On day one of sound production, make another disclaimer if you suspect that you will not get far enough along to allow any of the students to take home their “set-up”.

• At the end of each class, you must make the decision to allow just those who you assisted to take home their set-up…….or not allow set-ups to go home until everyone has made sounds with your assistance (day one, day two, etc.).

• Once you allow and require set-ups to go home on a daily basis, students should be recording their practice time on whatever form of practice card you are using. Be realistic when designating ____ minutes to be spent on their set-up sounds during their home practice.

• It is not necessary to have students make sounds on just the mouthpiece (without the barrel). It will be much easier for you……and eventually less awkward for the students…….to hold the mouthpiece and barrel. If you choose to start on just the mouthpiece, then you are encouraged to add the barrel very soon.

• Do not use a metronome when assisting students to make their first sounds. A metronome should not be added until the class is at the point of making group sounds.

• Remind students that lipstick, Chapstick, etc. cannot be worn during class. Students need to understand that their reeds will not last long, and they will begin to see mold. !

• When working one-on-one with students in your beginning class, it is important that the students are ready as soon as the teacher reaches them. While other students are waiting, they must either be paying attention to what you are doing…..or working on a music theory worksheet, etc.

• While going around the room, students should not be allowed to make sounds on their set-up—even if they have already been assisted. They should also not be

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allowed to improperly hold their set-up (i.e. putting a finger in the bottom of their barrel…..twirling or playing with the set-up in general……etc.)

• The instructor must place all mouthpiece and barrels for students. This may continue for 2-5 days (if not longer), depending on the size and overall ability level of your class.

• You should be directly in front of each individual student when assisting them, and not to the side. It would be most effective if students were standing and “finding their horizon.” Music stands should be elevated to the proper height, and a mirror should be properly positioned on each stand. You will learn to maneuver around each student’s equipment, etc. At this point, all cases should be directly under or to the side of their chairs.

• As you are working with each student, your goal is to assist each student in making a quality sound on or in the vicinity of the correct pitch (fifth line F-sharp). Do not get on to students who do not produce the exact pitch—especially if they are using brands of mouthpieces and ligatures that may be inferior and/or not on your recommended list. When listening to each student, listen for:

o quality of sound o consistency of sound o pitch

• Unless the clarinet is your primary instrument, you should not be modeling sounds on the set-up. As you assist each student, you will eventually find a “star student” who will become the model for future reference. Be sure to periodically use a keyboard or a metronome—with pitches—so as not to “lose sight” of the correct pitch (regardless of whether or not a model is used).

• Be aware of fragile and/or teary-eyed students. Move on to the next student in the interest of time, but make an effort to return to these students by the end of class. Do not let a student leave class feeling unsuccessful. If possible, offer a pass for struggling students to come in at lunch or before/after school.

• The set-up always goes to the student; not the student to the set-up. • Before bringing the set-up to the student, check for:

o ligatures that have been placed correctly o ligature screws that are too tight o proper mouthpiece angles o proper alignment of the reed o condition of reeds

• Train students not to move their faces or body when you are placing the set-up. It may take certain students multiple tries, and if they move after each attempt, they (and you!) basically have to start over each time.

• When students breathe, do not allow their corners to pull back at all. Furthermore, upper lips should not be coming off the plastic of the tops of the mouthpieces. Students should breathe only through their corners, keeping their upper lips on the tops of the mouthpieces.

• With the set-up, students should progress through the following steps: o air (The sound starts and ends with air, making students aware of how

they can control their air. This also helps students avoid undue tightness in the embouchure.)

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o air~vibration~air (The air “turns into” a vibration and returns to air.) o air~vibration o vibration (ultimate “final” sound)

• No articulation syllable should be used when making set-up sounds. The ultimate goal is for students to start their sounds with air. An articulation syllable will be assigned after all students are making characteristic and consistent sounds on the set-up, as well as the fully-assembled clarinet.

• Students need to direct their air across their reed (to the imaginary dot) in order to achieve the desired sound.

• Make sure the students understand that “a sound” may not happen the very first time. This is a trial and error process and may take multiple tries.

• Once the set-up has been placed correctly and students are making the sound you want, they need to remember:

o how it looks (by looking in the mirror) o how it feels

Allow and instruct them to take the set-up from your hand without moving their body and embouchure. Have them try to reproduce the sound on their own. Be prepared to further assist them if necessary. When the sound is correct, students need to remember how it sounds.

• Train students to freeze their body, face and embouchure at the end of whatever type of sound is being made (whether it is air, a tone, etc.) The student should not move anything until the director calls the students to ready position. This aspect of playing should transfer to any—and everything students play in the future (i.e. after last notes of lines out of the book, last notes of songs, etc.)

• Whether students are making individual or group sounds, they need to stop when they feel like they are running out of air. It should never be thought of as a contest to see who can hold their sounds the longest. That serves absolutely no benefit.

• If a student feels dizzy or faint, allow them to bend over in their chair for a little while until they feel better.

• If you feel or hear air escaping from the student’s embouchure, the student is most likely not sealing properly. This is usually caused by students pulling their corners back. Students need to constantly be told to bring their corners forward. After a student has been made aware that they are leaking air, the expectation should be stated for the student to return to class the next day without that issue.

• While students are playing, it may be necessary to gently wiggle their mouthpiece from side to side, during which you will hear pitch variation. This is simply making the student aware that their corners are not firm and/or their top teeth are not on the top of the mouthpiece. Ultimately, you should not be able to move the mouthpiece at all.

• The teacher should always forewarn a student before removing the mouthpiece from the student’s mouth. The mouthpiece can easily scrape the teeth or create discomfort.

• If you are too easily able to slide the mouthpiece out of a student’s mouth, their top teeth are most likely not on the top of the mouthpiece like they should be.

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This also means that students are holding the mouthpiece with their lips instead of their teeth.

• Extraneous noises at ends of sounds are a result of students collapsing their embouchures and/or postures. Have students sing “la” or “dah”; then, apply that to the end of their sound.

• It is your job, as the teacher, to diagnose any problems through this trial and error process. As you go around the room, it may be helpful to you to take written notes on students having problems. Jot down any catchphrases, analogies or specific things that you said to them that helped them in any way!

• If you are struggling in your efforts to assist multiple students…..or are unsure about what you are doing in general, then hire an outside consultant or experienced private lesson teacher to come to your class and help. As this professional goes around the room to hear your students, you need to follow them……watch exactly what they are doing…..and take notes as well. No matter the scenario, reference these notes as you see fit in future classes.

• If you have a large class, it may be necessary for “waiting” students to re-soak their reeds after ________ students have played.

• After _____ days, students will eventually need to be able to place their set-up and make a sound without your assistance. The amount of time will vary year to year, taking into consideration the size of the class, the overall quality of their sounds, and how many times you have assisted the students.

• Students playing bass clarinet need to use the mouthpiece and neck for sound production. The neck should be held by the curve closest to the mouthpiece, avoiding the register key mechanism. Whether or not the instrument provided to the student has a Charles Bay neck, the angle of the instrument (and the angle of the mouthpiece when not yet on the instrument) must be similar as possible to the angle of a B-flat clarinet.

• Students need to constantly be reminded that characteristic and consistent set-up sounds are stepping stones to making sounds on the fully-assembled clarinet! Students who do not practice their set-up sounds at home are not only slowing the class down, but are not contributing to the daily progress and quality of the class.

**Much of this information is applicable to beginner interviews.

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CHARACTERISTICS OF A GOOD CLARINET SOUND

Resonant

Consistent

Relaxed

Full

Rich

Clear

Smooth

Focused

Vibrant

Centered

Buoyant

Open

Free

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CLARINET OPEN G THREE-POSITION EXERCISE

1. POSITION 1 – “baby position”

• This newly-created “baby position” now becomes the students’ new “ready

position.”

• Notice that no fingers are placed on the tone holes. • The left hand is lightly grasping the barrel and the right hand is lightly grasping

the bell. • Be sure to check the angle of the clarinet; the bell should not be past the knees

and students should always be feeling a lifting sensation against their upper teeth. Therefore students are recreating the angle of their “short instrument” (set-up).

• The student’s head is level and the instrument is brought to them. • Each student should be heard individually in this position to ensure they are all

producing a 2nd line G.

2. POSTION 2 – Slide the right hand into the correct position. *You must have taught hand position by this point.*

• Students should quickly slide their right hand up into position without pressing any keys down.

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• This should be drilled until you are confident they can perform this action correctly.

• This position should not disrupt the placement of the instrument at all. • Again, make sure the bell does not go past the knees and students should still be

feeling a lifting sensation against their upper teeth. • Again, students must always look out at their horizon and not attempt to look

down to see if their right hand fingers are in the correct place. • Each student should again be heard individually in this position to ensure they are

still producing a 2nd line G. • Be aware that students can accidently press down any finger --or combination of

fingers --and still unfortunately be able to sound their 2nd line G.

3. POSITION 3 – Slide the left hand into the correct position.

• Students should quickly slide their left hand down into this position without pressing any keys. If any keys are pressed, the instrument will produce “mystery sounds.”

• Again, make sure the bell does not go past the knees and students should still be feeling a lifting sensation against their upper teeth.

• Again, students must always look out at their horizon and not attempt to look down to see if their left hand fingers are in the correct place.

• Each student should again be heard individually in this position to ensure they are still producing a 2nd line G.

Drilling and monitoring of these steps will result in correct instrument carriage as well as hand/finger position. When the three steps are mastered, the students should progress to the completed Three-Position Open G Exercise (next page).

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COMPLETED THREE-POSITION OPEN G EXERCISE

• The first whole note should be performed in POSITION 1. • The first whole rest should be performed as follows:

o Beat 1 – Release o Beat 2 – Slide right hand up into the correct position o Beat 3 and 4 – Breathe

• The second whole note should be performed in POSITION 2. • The second whole rest should be performed as follows:

o Beat 1 – Release o Beat 2 – Slide left hand down into the correct position o Beat 3 and 4 – Breathe

• The third and final whole note is now performed in POSITION 3 with absolute and correct hand/finger position.

• If “mystery sounds” are still heard in POSITION 3 after several days, students are simply not aware of what is happening with their left hand fingers (especially the thumb).

RELEASE BREATHE

SLIDE SLIDE

RELEASE BREATHE

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! "" # # # # # #@ # # % # # #@ # # # # # %

! # # # # #@ # # #%

# # # #@ # # # # %

! # # # #@ # # # #%

# # # # #@ # # # %

! # # # # # # #@ # % # #@ # # # # # # %

! #@ # # # # # # #@ % #@ # # # # # # #@ %

! # # # # # #@ # # % # # #@ # # # # # %

! # # # # #@ # # #%

# # # #@ # # # # %

! # # # #@ # # # #%

# # # # #@ # # # %

! # # # # # # #@ # % # #@ # # # # # # %

! #@ # # # # # # #@ % #@ # # # # # # #@ %

CLARINET OCTAVE EXERCISESLevel 1

Level 2

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CLARINET – TEACHING FINGERINGS AND USING FINGERING CHARTS

• It is your choice whether or not you use the fingering chart in your book with your

students.

• When you begin learning new notes, learn only a few notes per day.

o DO NOT overwhelm your students!!

• Upper register notes should not be attempted until you have taught all necessary flexibility exercises in order to perform register slurs (12ths) and harmonics (Sets 1, 2, 3, 7, 8). By the end of the beginning year, all students should have successfully mastered these vital exercises.

• Monitor unused fingers while students are playing.

o NO FLY AWAY FINGERS!

• Make it your goal to teach new fingerings before you get to the new fingering (or even the note itself) in the method book.

o This will make the students feel like they are smart, and that they are moving more quickly through the book.

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BASS CLARINET LOW FINGERING INFORMATION

The following fingerings apply to bass clarinets with Low C attachments. • Buffet Prestige and Selmer Bass Clarinets are typically the brands that will have Low C attachments.

D# (Eb)* D or*

C# (Db)* or* C*

* You can use the left hand E/B key to aid in pushing pads down for preparation of other notes.

1) E/B 2) D 3) G# (Ab ) / D# (Eb) 4) F/C 5) F# (Gb) / C# (Db)

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CLARINET – EVEN EXERCISE

The “Even Exercise” is to instill even technique during the early stages of learning the instrument.

• Students must think “squeeze, release” throughout the exercise.

• This should be taught without using music at first and without a written rhythm. Instead, use the phrase “I must do this exercise” to express the rhythm.

• As presented on this page, use note names before using notes in the staff. This

allows the student to easily think “squeeze, release” and perform correct finger movement.

CLARINET EVEN EXERCISE PATTERNS

1. E F E F E F E “I must do this ex- er- cise.”

2. D E D E D E D

3. C D C D C D C

4. Bb C Bb C Bb C Bb

5. A Bb A Bb A Bb A

6. G A G A G A G

7. F G F G F G F

• On the following page, the exercises are the same except for the fact that the notes are on a musical staff.

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CLARINET – EVEN EXERCISE (continued)

The “Even Exercise” is to instill even technique during the early stages of learning the instrument.

• Students must think “squeeze, release” throughout the exercise. • This should be taught without using music at first and without a written rhythm.

Instead, use the phrase “I must do this exercise” to express the rhythm. • Use note names before using notes in the staff. This allows the student to easily

think “squeeze, release” and perform correct finger movement. After the previous steps have been completed, the student may then read the patterns dictated on the staff. This also can be used as a Pre-Set to “CLARINET SET 1.”

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CLARINET – WORKING OUT BLIPS AND FINGER/TONGUE COORDINATION PROBLEMS

Blips Blips can be defined as the uncoordinated movement of multiple fingers that should be moving at the same time—but are not. As with the teaching of all woodwind instruments, the most problematic fingers in both hands are the ring finger and the pinky. Most blips occur with the use of either or both of these fingers.

• Through the use of the following uneven rhythms, lines 1-2 involve moving either the LH/RH ring finger and pinky at the same time.

• Through the use of the following uneven rhythms, lines 3-4 involve moving

either the LH/RH middle finger, ring finger, and pinky at the same time.

• For lines 1-4:

• Students should articulate every note. • Students can verbalize the counting while they are positioning. • Students can verbalize the note names while they are positioning. • Students can verbalize “long…short long….short long…short long,” while

they are positioning. • In the event you have not yet taught dotted rhythms to your students, these

exercises are already reinforcing a very challenging rhythm--in general--that students will encounter all the way through their public school experience.

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either the LH/RH ring finger and pinky at the same time.



• For lines 5-8:

• Students should slur every note. • Students can perform these exercises without articulating. • Students can verbalize the counting while they are positioning. • Students can verbalize the note names while they are positioning. • Students can verbalize “long…short long….short long…short long,” while

they are positioning. • In the event you have not yet taught dotted rhythms to your students, these


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• Using the same note names as lines 1-8, lines 9-12 are notated with the rhythms inverted.


• Lines 11-12 involve moving either the LH/RH middle finger, ring finger, and

pinky at the same time.

• For lines 9-12:

• Students should articulate every note. • Students can verbalize the counting while they are positioning. • Students can verbalize the note names while they are positioning. • Students can verbalize “short long…short long….short long…short,”

while they are positioning. • In the event you have not yet taught dotted rhythms to your students, these


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• Using the same note names as lines 1-8, lines 13-16 are notated with the rhythms inverted.




• For lines 13-16:

• Students should slur every note. • Students can perform these exercises without articulating. • Students can verbalize the counting while they are positioning. • Students can verbalize the note names while they are positioning. • Students can verbalize “short long…short long….short long…short,”

while they are positioning. • In the event you have not yet taught dotted rhythms to your students, these


MISCELLANEOUS

• These exercises can be very effective, but must be verbalized--in the various ways previously discussed--and positioned at the same time.

• Playing tests can and should be given on these exercises to promote their regular practice.

• While positioning and/or performing these lines, it is imperative that students’ fingers are hovering and staying very close to the keys. If students’ fingers

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are too far away from the keys, these exercises will not be effective in preventing blips.

• Fingering patterns found in these exercises will more than likely appear in virtually every genre of music, whether it be scales, All-Region/All-State etudes, performance music, etc.

Finger/Tongue Coordination Problems There are two types of finger/tongue coordination problems that occur when passages are articulated:

1. students changing to the next fingering before they articulate (most common) 2. students articulating before they change to the next fingering • Students can verbalize the counting. • Students can verbalize the note names. • Students can use their air and position through their embouchures—without

actually producing sounds/vibrations.

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CLARINET THROAT TONES

On the clarinet, G, G#, A, and Bb in the staff are generally considered the open throat tones for the instrument. This means that when playing these notes, you are plugging very few (if any) holes, and are usually only opening more. The air in the clarinet is going to travel less and with barely any resonance in the clarinet. These notes will typically be sharp…..especially when sustained with other instruments sustaining the same pitch. Playing throat tones with the characteristic sound and pitch takes years of practice and muscle training.

• Have the students use very fast air on their open G. They need to try to relax their throat so it is nice and open while not losing the embouchure. When this is achieved, then they can apply this skill to the other three notes.

• It is important that students’ oral cavity is very “tall.” • The teeth need to be apart in the back of the mouth. • Students should think of having an egg on the back of their tongue….and if they

close off too much, the egg will break. • Very fast air is required.

Alternate Fingerings (not to be taught in 6th grade…but these fingerings will assist in improving the intonation)

• If sharp, add finger 6 and right pinky 1 in the right hand • If still sharp, add finger 5 in the right hand • If still sharp, add finger 4 in the right hand • If still sharp, add finger 3 in the left hand • If still sharp, add finger 2 in the left hand

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CLARINET ARTICULATION

• Do not attempt to teach articulation until all students are producing characteristic and consistent sounds on the mouthpiece and barrel, as well as the entire clarinet.

• Introduce articulation on the mouthpiece and barrel. • The tongue is down 98% and up 2% of the time. • The tongue moves up and down, not back and forth. • The tongue never touches the teeth or gums. • The purpose of the tongue is to release the air which causes the reed to vibrate

which creates the sound. The tongue’s release of the air simply defines the beginning/start of the vibration/sound.

• Articulation is used to define the vibrations necessary to create musical rhythm, style and movement--to contrast the use of slurring (which also creates similar musical entities).

• One taste bud of the student’s tongue should touch the flat part of the reed where the imaginary “dot” at the tip has been all along. The tongue touches this

spot, and immediately returns to its “at rest” position. • The student must always touch and interrupt a vibrating reed. • The articulation does not stop the reed vibration. • There should be no movement in the face, chin or throat. All that moves when the

student articulates is the air and the tongue. • The same part of the tongue must touch in the same spot with the same

strength/energy every time. The spot should be where the flat part of the reed meets the tip.

YOU WILL NOW BE SHOWN COMBINED EXERCISES THAT WILL HELP IMPROVE THE STUDENT’S TONE QUALITY IN ALL OF THE REGISTERS, INCREASE RANGE, CREATE EVEN ARTICULATION IN ALL REGISTERS,

AND TEACH YOUNG STUDENTS HOW TO CONTROL THE ENTIRE INSTRUMENT DURING THE FIRST YEAR.

CLARINET ARTICULATION EXERCISES • When starting articulation exercises, the use of mirrors is vital. • Remind students that the tongue only interrupts the air – it never stops the air. • Articulating with black notes as opposed to white notes, encourages students to move

their tongues down quicker. • Make sure from the very beginning, students sing and play in a connected/legato style.

• Exercises to be taught in the following order:

1. Have students sing on “dah” and then ultimately on the French syllable “dih.” If

students are unable to sing in a connected style, they should not progress to the next step.

2. Have students put their hand or index finger in front of their face and feel their air. Students should feel continuous air and not “puffs” of air.

3. Go around the room and have each student tongue air at your hand, so you can assess their ability to do it correctly.

4. Using a mirror, students should articulate with or without their hand/index finger, making sure that their face, chin, and throat are not moving.

5. When you feel students have mastered the previous exercises, allow them to articulate – using the syllable “dah” or “dih” – on the mouthpiece and barrel. Students should put their left hands under their barrel so they can feel a continuous stream of air while they are articulating. Students who do not feel continuous air need to be verbally made aware that they are not articulating correctly.

** Students should start with their tongue on the reed to create the articulation. The tongue then falls down and returns to its “at rest” position in the bottom of the mouth. One taste bud of the student’s tongue should touch the flat part of the reed, where the imaginary “dot” at the tip has been all along. The air and tongue go to this same “dot.” 6. Allow students to articulate as fast as they can. 7. Allow the students to start the sound and use the "ta-day" syllable. 8. Allow the students to start the sound and articulate by snapping your finger on

command. 9. With the metronome, begin to incorporate easy follow-the-leader rhythms with you

singing or modeling – and the students echoing on their mouthpiece and barrel. Whole rests may or may not be necessary between you and the students. As with

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your initial sound production exercises, students need to continue counting with their fingers while they are playing. This ensures that students are thinking internal subdivision.

10. Before progressing to the fully-assembled clarinet, assign the following playing test

on the mouthpiece and barrel:

• Attach the mouthpiece and barrel to the clarinet and begin articulation. Students must be

constantly reminded that they should be articulating in the same way as they were when just using the mouthpiece and barrel.

• Whether students are playing white notes or black notes, they must constantly be reminded that the tongue moves down quickly.

• When students can successfully sing note names on the same pitch, allow them to articulate multiple notes on the same pitch.

• When pulse and foot pat are learned, students articulate every time their foot touches the floor – and then when their foot touches the floor and as it comes up.

• Once the student is able to read music, call the articulation "rhythmic articulation". Students should be tonguing as the music moves across the page.

• Do not allow students to articulate back-to-back notes on different pitches until they are playing with absolute connected style on notes of the same pitch.

• When the tongue is moving correctly, you must decide when it is appropriate to have students begin coordinating finger movement with articulation.

• When students articulate back-to-back notes on different pitches, they cannot stop their air as they change fingerings.

• Teach Mary Had a Little Lamb in four segments by singing and then playing:

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• After all students have successfully played each segment of Mary Had a Little Lamb, begin to string together the segments into the following finished product:

• Ultimately, students should be able to execute any or all of the following on a daily basis:

o articulate as fast as they can o articulate using the "ta-day" syllable o articulate on command o articulate with foot pat and articulate rhythms

• When playing exercises out of the method book, you can return to previously-learned lines and add articulation. Do not feel like all lines must be executed again during class; assign students to perform all lines at home with articulation.

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CLARINET-LEVELS OF ACHIEVEMENT FOR ARTICULATION

1.

2.

• Introduces skill of tonguing and finger change at the same time

3.

4.

• Introduces skill of tonguing and multiple finger changes within a measure

4 Teaching Techniques

1. Sing on note name and position

2. Air and position

3. Position only

4. PLAY ☺

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& c1

œ œ œ œb œ œ Ó

&2

œ œ œ œb œ Œ Ó

&3

œ œ œ œb&4

œ œ œ Œ

&5

œ œ œ Œ

&6

œ œ œ Œ

&1

œ œ œ œb œ œœ Œ

&2

œ œ œ œb œœ Ó

&3

œ œ œ œbœ Œ Ó

&4

œ œ œœ

&5

œ œœ Œ

&6

œ œ œœ

&7

œ œœ Œ

CLARINETSet 1

All exercises are performed on one airstream. Be sure all fingers move easily and naturally from the big knuckle.

Make sure all sounds have the same resonance.Move from the center of the note to center of the note.

Set 2

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! ""1

# # # #@ ## #% &

!2

# # # #@# # »

!3

# # ## #

& »

CLARINETSet 3

For altissimo register, use half hole first finger instead of lifted first finger.

*

*

* The right hand "speaker key" (RH G#/Ab key)must be added on the last note. For the altissimoregister, use the "half hole" first finger instead ofthe "lifted" first finger.

Once these exercises have been perfected to the teacher'sstandards, add the articulation exercise taught for all

instruments to the last note of each section.

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& 44 44˙ ˙ ˙ ˙ ˙,˙ ˙ ˙

U œ œ œ œ œ œ œ œU

& 44 44˙ ˙b ˙ ˙ ˙,

˙ ˙ ˙U

œ œb œ œ œ œ œ œU

& 44 w .˙ Œ w .˙ Œ w .˙ Œ

& 44 œ œ œ œ œ œ œ œ .˙ Œ œ œ œ œ œ œ œ œ .˙ Œ

& 44 œ œ œ œb œ œb œ œ .˙Œ œ œb œ œ œ œ œ œb .˙ Œ

& 44 œ œ œ œ .˙ Œ œ œ œ œ .˙ Œ œb œ œ œ .˙b Œ

& œ œ œb œ .˙ Œœ œ œ œ .˙

Œ œ œ œ œ .˙ Œ

& 44 ˙ ˙ .˙ Œ œ œ œ œ .˙ Œ œ œ œ œ .˙ Œ

& 44 ˙ ˙ .˙ Œ œ œ œ œ .˙ Œ œ œ œ œ .˙ Œ

& 44 ˙ ˙ .˙ Œ œ œ œ œ .˙ Œ œ œ œ œ .˙ Œ

& 44 ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ∑ ˙ ˙ ˙ ˙ ˙ ˙ w

CLARINETSet 4

Do not attempt any long tone exercises until students can comfortably sustain without any tension.

C Major

F Major

C arpeggio Bb arpeggio

F arpeggio

Finger Rolls

1a. 1b.

2a. 2b.

3.

4a.

4b.

5.

6a.

6b.

6c.

7.

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& c1

˙ ˙ ˙ Ó ˙ ˙ ˙ Ó ˙ ˙ ˙ Ó

& c2

˙ ˙ ˙ Ó ˙ ˙ ˙ Ó ˙ ˙ ˙ Ó

& c3

˙ ˙ ˙ Ó ˙ ˙ ˙ Ó ˙ ˙ ˙ Ó

& c4

˙˙ ˙ Ó ∑ ˙ ˙ ∑ ˙ ˙ ˙ Ó

& c5

˙ ˙ ˙ Ó ∑ ˙ ˙ ˙ ˙ ˙ Ó

& c6

˙b ˙n ˙b Ó ˙b ˙ ˙b Ó

&1

w w w w w

&2

w wb w wb w

&3

w w w# w w# w w

&4

w w w# w w# w w

CLARINETSet 5

Finger Rolls and Break Exercises

Set 6Break Patterns

L R R L

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CLARINET WARM-UPDo not attempt these exercises until Set 1-8 have met your expectations.

Please follow these exersises in numbered order.

Each group of six notes should be played with one consistent airstream.

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Move the fingers quickly. When you move several fingers at the same time, they should hit or be picked up from the

holes at the same time.

1

2

3

5

4

6

7

8

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p. 2 CLARINET WARM-UP

48

4

4

4

4

4

4

4

4

4

4

4

4

Initially, keep the right hand down while playing #10 and #11. Keep the air fast and constant. Once students can control

the hand position well enough, the right hand can be lifted for the notes not using its fingers. It is best to alternate right

hand down and up every other time these exercises are played.

Pull up with the right thumb.

Roll the first finger. Hit the "A" key with the first joint of the first finger. Keep the left pinky touching the "E/B" key.

9

10

12

11

13

14

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CLARINET REGISTER SLUR EXERCISES

AND CHANTS

John Benzer

4

8

Clarinet Sharps/Naturals

Sharps/Naturals Chant

Clarinet Flats/Naturals

Flats/Naturals Chant



B♭ Cl.

B♭ Cl.


B♭ Cl.


B♭ Cl.

4

4

4

4

4

4

4

4

Be low the staff

Be low the staff

E 3rd line B

E 3rd line B

lowBe the

lowBe the

staff F 3rd space

staff F 3rd space

C

C

Be low the

Be low the

staff sharpF 3rd

staff G flat 4th

Be low the staff sharpG 4th

Be low the staff A flat space4th

space sharpC

line flatD

Be

Be

line sharpD Be

low staffthe G 4th

low staffthe G 4th

line D

line D

thelow staff A 4th space E

flatE Be thelow staff A 4th space E

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12

16

20

24


B♭ Cl.


B♭ Cl.


B♭ Cl.



B♭ Cl.

B♭ Cl.

B♭ Cl.


B♭ Cl.



B♭ Cl.

Be low staffthe

Be low staffthe

A sharp 5th line

flatB 5th line

Be thelow staff C bovea the staff

F

F

Be low staffthe

Be low staffthe

B 5th line

B a bove staffthe

F sharp

G flat

G Be low staffthe sharpC a bove staffthe G sharp

Be thelow staff

Be thelow staff

C bovea the staff

D bovea the staff

Be thelow staff D bovea the staff

1st line E bovea the staff

1st line E bovea the staff

G

A

Be low staffthe D

Be low staffthe D

A 1st line

flat a bove staffthe

sharp a bove staffthe

A flat

A sharp

flatE a bove staffthe B flat

B 1st space

B 1st space

F a bove staffthe C

F a bove staffthe C

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& c˙

˙ ∑˙

˙ ∑˙#

˙#˙b( ) ˙b( ) ∑

& ˙˙ ∑ ˙#

˙#˙b( )

˙b( ) ∑ ˙˙ ∑

& ˙#˙

˙b( ) ∑ ˙˙# ˙b( ) ∑ ˙

˙ ∑

& ˙#˙#

˙b( )˙b( ) ∑ ˙

˙ ∑ ˙#˙#

˙b( )˙b( ) ∑

& ˙˙ ∑ ˙

˙ ∑

& c ˙˙ w# wb( ) ∑ ˙#

˙˙b( )

w ∑

& ˙˙# ˙b( ) w# wb( ) ∑ ˙

˙ w∑

& ˙#˙#

˙b( )˙b( ) w

∑ ˙˙ w# wb( )

∑

& ˙#˙#

˙b( )˙b( ) w

∑

CLARINETSet 7

Register Slurs

Set 8Harmonics

This is a more advanced level of Set 2.

This is a more advanced level of Set 3.

*right hand "speaker key" (RH G#/Ab key)must be added on third note from this group to the end of the exercise*

*

* *

* *

*

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& 43 œ œ œ# œ œ# œ œ# œ œ œ# œ œ#

& œ œ œ# œ œ# œ œ# œ œ œ# œ œ#

& œ œ œ# œ œ# œ œ# œ œ œ# œ œ#

&œ œ œ# œ œb œ œ œb œ œb œ œ

& œb œ œb œ œb œ œ œb œ œb œ œ

& œb œ œb œ œb œ œ œb œ œb œ œ

& œb œ œb œ œb œ .˙

CLARINET CHROMATIC SCALEAll students should be made aware of the importance of making

consistent, characteristic sounds on all notes regardless of register.

Do not continue past the note when sound consistency changes. Work your way up one note at a time.

Realistically, the chromatic scale may not be introduced until the second semester.

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&&&

44

44

44

Flute

Clarinet in Bb

Alto Sax.

wb

ww

wb

ww

∑∑∑

wb

wbw

wb

ww

∑∑∑

w

ww

w

ww

∑∑∑

&&&

Fl.

Bb Cl.

A. Sx.

w

ww

w

ww

∑∑∑

wb

ww

wb

ww

∑∑∑

w

ww

w

ww

&&&

44

44

44

Fl.

Bb Cl.

A. Sx.

wb

ww

wb

ww

wb

wbw

wb

ww

w

ww

w

ww

w

ww

w

ww

&&&

Fl.

Bb Cl.

A. Sx.

wb

ww

wb

ww

w

ww

w

ww

FLUTE, CLARINET, AND ALTO SAXOPHONE OCTAVE AND REGISTER EXERCISES

Set 1

Set 2

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&&&

44

44

44

Fl.

Bb Cl.

A. Sx.

wb

wwb

wb

wwb

∑∑∑

wb

wbwb

wb

wwb

∑∑∑

w

ww

w

ww

∑∑∑

&&&

Fl.

Bb Cl.

A. Sx.

w

ww

w

ww

∑∑∑

wb

wwb

wb

wwb

∑∑∑

w

ww

w

ww

&&&

44

44

44

Fl.

Bb Cl.

A. Sx.

wb

wwb

wb

wwb

wb

wbwb

wb

wwb

w

ww

w

ww

w

ww

w

ww

&&&

Fl.

Bb Cl.

A. Sx.

wb

wwb

wb

wwb

w

ww

w

ww

Set 4

FLUTE, CLARINET, AND ALTO SAXOPHONE OCTAVE AND REGISTER EXERCISES

Set 3

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& 44 œ œ ˙ œ œ ˙ œ œ œ œ ˙ Ó

& œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙

& œ œ ˙ œ œ ˙ œ œ œ œ ˙ Ó

& œ œ œ œ œ œ œ œ œ œ œ œ w

& 44 œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙

& œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙

& œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙

& œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙ w

CLARINET/BASS CLARINET CHRISTMAS TUNES

Jingle Bells

Good King Wenceslas

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