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    18 views92 pages

    Handbook2011 2012 PDF

    Uploaded by

    Juan Diego Ardila

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    University of North Texas College of Music Clarinet Handbook 2011-2012 music.unt.edu/clarinet Table of Contents Table of Contents. ADMINISTRATIVE, Syllabus for Applied Clarinet: Criteria for Grading. 4 Productive Practicing: Some Recommendations 6 Categories of Practice Material 7 Technique Requirements... 8 MUSIC (Warmups & Exercises) Register Slur ose ol Legato/Tuning Stuies.s0-o on : u Schmit Chromatie Studies... oe 2 Diminished Seventh Arpegeios. - 15 Diminished Seventh Arpeggios (combined) : Sone ‘Whole Tone Pattems on B and Fons - 23 Whole Tone Pattems on F and Gu. nnn 6 Seventh Chord Exercises. nnn 29 Fours. vn 33 Fourth (combined). ; 37 ‘Tritones . 39 ARTICLES Clarinet Articulation: Conceptions, Misconceptions & Solutions by James Gillespie and John Scot. 7 4 ‘Clarinet Fingering: Luck or Logic? By James Gillespie & Joh Scot a8 ‘An Outline of Clarinet Literature by Henry Glick... © 37 Major Orchestra Clarinet Audition List by Cecil Gold ces 60 Reed Information by Tom Ridenour. Sn e Quality, Not Quanity by Tom Ridenour. on 64 Tips for Tonguing by Howard Klug 66 Performance & Pedagogy, Pats II Ill &IV by Henry Gul... 68 REFERENCES Selected References on Clarinet Fingering... sence BA Selected Clarinet tudes... nnn 85 Genel Referenves on Clarinet Literature and Bibliography. 8 Sources for Recordings. 7 88 References on Performance and Pedagogy. on 88 References on History 88 Sources for Equipment, Accessories, Repairs, Music and Moats Makers. 89 Professional Association... 90 ‘Master Class” Articles from The Clarinet . conn OL Questions to Ask About Works You Are Studying. coe 9 - UL - Administrative University of North Texas College of Music ‘Common Syllabus for Applied Clarinet (0muas, MUG, MUAM 1513, 351, 5511, 6513) ‘The elustiona prowess in appied muss toa eaten, subjective dein based on he enters ew athe tucesrowth There mast be cael weighing of oth cult and quart yur workin exch semester. ‘The nent of thi labus maybe mended he nrc a toed tothe speci ned ofthe suse Ins ese tat you nom the aspects of our pevtrmanc and preparation that compris euliton poets. The ade forthe semester wb based on he follwing eters 1b oety roars 2. sty of preprzton 1 carsiteneyot preparation Consistency of progress eget, tutes and echnical motel coveted ond mastered tude toward peroming 1 ect su ass and ote performances {Maturation ard contin pertrmance 1 teytperornance ry Bamition 3 pedoranes let ofreperare 2. Peomanceoftecniave Altre sors and concentration are expecta 1h Alene so ces. Fiys tom 1001509 00m 232 2._Atvequtes woodwind chamber museca as nrouneed ‘The final semester trae il be omer by oe leer ade freer tee unecued absences. eed absent eh ‘parol orf ins cls cfc te. mat be approvednsiance by your ppd struc students encouraged cher ote student tons Alinco essnsareopen a the mits cation a appro of atthe eae and taser -4 VL Youareretparaeeralloter eqns a so nthe Carine Handbook muse ete ‘The Colege of mus comple ith he Americans wh Dai At making ressoabi szormasatns for quid students wih sais you hve an established dab 25 onesty Statement! CHEATING AND ACADENNC HONESTY ‘The UNT Code of Studer Conduct and Dacre provides ens for mconcy side, Inc caer thoes, Acer dshonerty ces chet and parm, ‘The tem cheating les, us ot ted] any nsutoed asstance nating ‘utr to amination (2h dependence onthe df eres beyond heer by the instrctor nwt apr preparg reper slg robles, or xing out ther tga of te aeutin wit permanon of mts eather sademeatrit belonging toa acy member or saftey ‘Theterm"pogaren” ines btn ined these, byparaphneardrct untaton of the puished or unpublished wort acter person witout lan clear aceamlcgement. th nde te uacknwieded eo mater prepared nate peonor Ee, rengdin the sling em papers or oter aeacemie ater. (Sore: Cob of ond ond Diino the Unverity of Hoh Tex. Productive Practicing: Some Recommendations EQUIPMENT: All clarinet students are expected to own: 1a profesional quality clarinets) and mouthpiece 2 ametronome 3a tuner (at leat by the end of the sophomore yest) 4.4 dictionary of musical terms 5a folder for carrying music or a case cover that will hold it 6a small spiral-bound notebook devoted solely othe clarinet 7. optionala good quality recording device (Sony professional model, et.) (GENERAL RECOMMENDATIONS: 2. Set aside a definite regular time(s for practicing, and dont let anything interfere with that mets). 2, Be sure you understand each week's assignment and how to practice each item assigned. 3. Work particularly on improving funda laying problems noted in lessons Progress can be made only when fundamental problems ae solved or Improved. 4. Spend more tne on mates with which you have problems, nat on what you can sendy do well pone ‘5. Continually work for accuracy and control, Speed will develop as other playing characteristics improve 6. Ifyou don't understand - ask questions! 1. Bach category of practice shoul ary over nt the oer categories Constantly look for opportunites to apply new playing techniques: fingerings, breathing, tone considertons es 8, Altemate standing and sitting. Standing often encourages better habits of breathing. 9. Check fequely in a miror (ul ng if possible) for ome breath Sabi end handinger postin en POSEN) "= 10.Buy as soon as possible all music that is assigned and TAKE CARE OF IT! ‘This music will become a par of your own libary in future yeas 11. Allow ample time each week for red preparation =(,— Categories of Practice Material (and suggested time distribution for a typical hour's practice) ‘Slow, legato exercises (5 minates) ‘Scales, arpeggios, ec. (20 minutes) Eades (20 munues) Repertoire (15 minutes) Slow, legatoftuningtone exercises (from UNT Clarinet Handbook) 1 Som ERY TRING ets caegry tela be payor ond wih nce, 2. Concentrate on ‘2 comect breathing. Challenge yourself o take deeper, fuller breaths and control the breath flow. ». comecting any faults withthe embouchure noted in lessons. ©. producing a clea, focused, even tone from register to resister, &. Incorporating new fingerings into your playing (throat tone resonance fingerings, high register, et) «. correcting any problems in handinger position noted in lessons. Since ‘these exercises are easy to memorize, practice them in font of & rmimtor and watch carefully and critically for good hand/finger position (and embouchure) {accurate intonation. The dally use ofa tuner is via. Scales, arpeggios, te. 1 Concentrate on: aang oe ala te onions ome vis gay incorporating new fingerings and finger techniques. €: sont Don ty ply any ecniel mater ase than you can 4. sang mercinme pay, ad ering reoned of metenome © iy progress. en tone quay and even ys 1, Brodes 1. Understand what the study is designed to develop: finger technique, dynamic ‘control and shading, wide interval control, aiculation, reading accidentals. 2. Use your dictionary of musical terms fo learn any unfamiliar terms. 3. Printing errors are Common in the standard etudes. The indicated metronome opting may not ete Bes oo. 4, Look for opportunities to apply new playing techniques, and constantly “e over thr nas paces and develope inte evo cg. 5. Try to make all eudes “musical” Project clear phrase endings, climaxes, a ‘wide dynamic range, rato te. IV. Repertoire (Solos, Chamber Music, Orchestral Literature, et) 1: Ifthe work Is new to You, lea someting sbout the compose, the historical setng ofthe work, theclaiget as wten fe, vali of cording, 2. To become more familiar with the whole work, and not jus the linet pa listen ta recording with a fll piano or orchestral score in hand. 3. Lear to pronounce foreign-language names and terms cortecly. You will ‘probably encounter them throughout your career, 4. As with any work (or etude) you study, know all ofthe terminology contained Technique Requirements for Clarinet* Level 1 Major scales and arpeggios (Chromatic scale EG 3 octaves, A-lat-E-flat2 octaves Levelt Minor sales in three forms and arpeggios Major sralo in thirds Phenugh 3 sharpecind 3 Bate ‘Chromatic pattern I (Clarinet Handbook) Level tt ‘Major and minor scales (thre forms) extended with arpeggios Completed major scales in thirds CChromatie pattern Il and It Level {All major and minor scales (three forms) extended with arpeggios memorkzed Minor scales in thirds (Baermann Il minimum) Diminished seventh arpeggios Levelv Major and minor arpeggios broken forms Diminished seventh arpeggios memorized Major-minor seventh arpeggies (Clarinet Handbook) Level Vt ‘Whole tone scales and arpegsios Seventh arpeggio patterns Level VI ‘Whole tones scales and arpeggios memorized Fourths and tritones Seventh arpeggio patterns (Clarinet Handbook) memorized *alltechnique must be performed in standard articulations (Le. all slurred all articulated, 2 slurred + two articulated ete) and assigned tempos. Al technical exercises can be found in lose, Baerman, Langens,Jeanjea ec as assigned BM, BA, MM, DMA and PhD concentrations in clarinet must demonstrate a minimum proficiency through Level Vi BM, MM, and DMA must demonstrate proficiency through Level Vil Register Slurs Legatol Tuning Studies “Transpose chromatically Schmidt Chromatic Exercise feecilececeteee ihertenctltenee tenotele be po lereie Schmidt Chromatic Exercise (cont'd) Schmidt Chromatic Exercise (cont‘d) Diminished Seventh Arpeggios ale Ele, » Diminished Seventh Arpeggios (cont'd) << _est Ete, pe eet ee Z 9 Diminished Seventh Arpeggios (cont'd) — ee 3 » Diminished Sevenths: combined Diminished Sevenths: combined (cont'd) 3 : f f is te , ? Diminished Sevenths: combined (cont'd) Diminished Sevenths: combined (cont'd) sey shai ot a Diminished Sevenths: combined (cont'd) Whole Tone Patterns: on E and F sharp » aF fos DBE SSS SSS Ten ee oS = Ime SER EES Whole Tone Patterns: on E and F sharp (cont'd) > gagged telltale Whole Tone Patterns: on E and F sharp (cont'd) 10) 12): Whole Tone Patterns: on F and G iele Flete ‘ De re ee Sipe a a = Thr aap 2 seleeeltee f Iefsiete eee. Pemetet £ fitetpepe, Whole Tone Patterns: on F and G (cont'd) Whole Tone Patterns: on F and G (cont'd) Seventh Chord Exercises Seventh Chord Exercises (cont'd) 4 30 Seventh Chord Exercises (cont'd) Be ee eee ee le 31 Seventh Chord Exercises (cont‘d) encktee BS 1 eet 32 Fourths 33 . Fourths (cont‘d) 10) 4 : Fourtns (cont'a) 12); 13); 14) 15); 35 ‘ ourtns (conta) 16) 1) 19); 36 Fourths: combined 31 Fourths: compinea (cont a) 38 arttones 2 = 39 Tritones (cont'd) 10) 12 Tritones (cont'd) Articles Clarinet Articulation Conceptions, Misconceptions, & Solutions James Gillespie & John C. Scott University of North Texas ‘Tonal Development of Articulated Passages 1. General Principles ‘A. The emphasis with beginning students shouldbe on the development of 3 good, uniform sumed (legato) tone quality (as high in range as possible) before tonguing is stressed. There should be no sympathetic motion ofthe ja, throat or chest when slurring or tonguing. The facial “look” ofthe embouchure should have the Saupe appearance in ll registers and ariculatons. ‘The use of mior i very helpful checking for any unwanted motion. CC. The airstream is constant in all ypes of aniculation, from the most connected (slured) to the most detaced (Saccaissime). . Exercises for the Development of Tonal Uniformity ‘A. Matched (wiform) quality ona repeated not: i B. Matched quality of scal-wise = D. Matched quality inal registers: TL. Voicing - What happens? ‘A. Low register: tongues fat inthe mouth, mouth cavity is large, throat cavity is smaller, “hah syllable recommended B. High register tongue is higher, more arched, and forward: mouth cavity i ‘mallet (aken up by raised tongue) throat cavity is larger "hee" syllable recommended CC. Emphasis shouldbe placed ona relaxed, “natura” fee throughout the fll range IV. Undertones - What causes them? ‘A. Improper voicing. Try starting problem notes above the staff (for practice ‘only) with the breath (“hee”). Later add "d" fora “dee” syllable for the smack BB. Airsteam o0 slow. . Emboechre nt formed corel befor: bowing. Botom ip usualy 00 D. Reed too sft. V. Summary of the most common faults related to poor articulated tone quality ‘A. Not enough airspeed to support tongued notes, BB. Moving the embouchure, jaw chest; or too much ofthe tongue when ‘wtculting CC. Voicing not appropriate forthe register being played . Too much tongue surface against too mach reed surface. 4s Clarity and Style in Articulation 1. General Principles A. All notes consist of three pars — beginning, duration, and ending; ‘the traditional terms “attack and release” seem to contradict hei definitions BB. The tone quality ofthe duration should remain constant and not vary with changes in length; a short note should have the same quality as along note C. The clarity of beginnings and endings should remain constant D. The duration ofa note is determined by the length of time that the tongue remains away tom the reed |. Good clarinet ariculaton is achieved bythe manner in which the tongue is withdrawn fom the reed, ths feng the sound 2, The higher the pitch, theless the amount of separation that is required bbeween pitches 3. The louder the pitch, the less the amount of separation that i required between pitches EE, The amount of separation isthe key to style FF. The character of beginnings (attacks) is determined primarily by the amount andior speed of air thats released, and not by the force or weigh of the tongue ‘weight 46 Clarity and Style in Articulation (contd) 1. The Use of the Tongue A. Beginnings (attacks) 1. The active motion ofthe tongue isthe backward stroke; the forward sitoke serves as a preparatory motion 2. Therongue rests lightly against the reed ~ not pressing the reed, but only dampening it. Lighinss isthe most important concept in clarinet articulation tongue placement 1) tp ofthe tongue to the tip ofthe red 2) anchor tongue othe tp ofthe reed es 1) 4AH, dEEH 2)1AH, IEEH bs BB. Endings (eleases) 1. Tone is topped most frequently by stopping the Forced exhalation of 2. At faster speeds, endings and beginnings of notes occur more closely together, making the syllables ‘AH or dAH appear as tlt or dAHa C, Clavity in arculation patterns 1. To achieve a clear and even syle of articulation, play the last note of slurred group in the siye ofthe note that follows, 2, Tocliminate an uneven articulation, emphasize the Fest note of slured group DD. Tongue speed 1. The tongue mus be light and relaxed 2 Concentrate on withdrawing the tongue from the reed; blow the tongue away ” Clarinet Fingering Luck or Logic? James Gillespie & John C. Scott University of North Texas 1. Hand and finger position ‘A. Basic hand position is derived from the hands hanging atthe sides ofthe body in arelaxed postion; notice the curve ofthe fingers caused by muscle tone. , Mainiin this basic hand postion when holding the clarinet — elbows bent; rote the angle of the hands. . Specifies ofhand and finger postion T. Right hand thumb: bottom half ofthe nail shouldbe under the standard thumb rest; this varies slighly with individual hand sizes; the right thumb shouldbe perpendicular tothe clarinet 2, Right hand index Finger: should remain curved and arching over the cede ofthe lowest side key 3. Left hand: should be curved and aching over both the A and Acta keys 4. Left hand thumb: should point slightly toward the top of the clarinet at about 35 degrees I, Basie fingerings for sales and arpeggios ‘A. Primary considerations: 1. Whenever possible, continue finger motion inthe same hand 2; Without sarificing good intonation, try to move as Few Fingers as possible in connecting intervals 3. Whenever possible, incorporate the “ight hand down’ technique into all scales and arpexgios, 4, Remember that the righthand cannot be left down below open g without resulting in poor intonation 48 2. Without sacrificing good intonation, try to move as few fingers 3s possible in connecting intervals. 3. Whenever possible, incorporate the “right hand down” technique into all scales and arpeggios. 4. Remember thatthe right hand cannot be left down below open g ‘Without resulting in poor intonation BB. Specific scale pattems: Ex. LF Major ee L Ex.2 Beflat Major Bx 3 E-flat Major See Se L R Ex 4D Major & A Major LR === 5 Ex SE Major RL A= Ex. 6 F-sharp Major Ex 11 B-flat Major Ex 12 F-sharp Major TI, Throat tone resonance fingerings ‘A. These fingerings can aid in 1. improving tone quality 2. stabilizing pitch 3, improving uniformity of resistance in blowing between throat tones and lower clarion register in scales and arpeggios 4. connection of registers Ex 13 Jacob, William Burd Suite, Mvt. 1V Ex 14 Swearingen, Novena TV. Trill fingerings in rapid passages ‘Note Below: While will fingerings usually do not possess the fullness of tone of standard fingerings, in rapid passages the player's concem i with ease of fingering and 31 qc smoothness. As long as acceptable intonation is maintained, extended register fingerings (etl fingerings) can often improve the connection of slurred passages involving register changes. Stated simply, don't change registers unless the situation requires it ‘A. Theextended chalumean register: Ex Sah 322238255 Ex 16 bfave B. The extended clarion register: Ex 17 KalinnikowBainum, Symphony No. 1, Q+ 1m. ot Gafteet = Ex. 18 Shostakovich/Hunsberger, Festive Overture, 18 + 6m. elé-fat a RSKI2 Ex 19be-sharp . Clarion tril: Ex. 20 aflavo-flet Paes D. Altissimo tris: Ex. 21 Amold, Four Scotsh Dances, C+ 6m. -sharp/d-sharp 3 'V. Altisimo register fingerings A, General suggestions: 1, The RH AB/ED key should almost always be used on D and all notes above. Exceptions: fast technical passages may be more manageable ‘without it, and very soft sustained Ds may tune better without it: ‘usually not needed on the A clarinet. 2. In fast technical passages, choose fingerings that use the fewest fingers (often will fingerings). In slower, sustined passages, use fingerings ‘hat are more tonally table and secure (often “long” fingerings) 3. High Bb is often misfingered. The correct fingering is: B. “Long” fingerings (also called “front” or “covered”) 1. This category of fingetings is especially iseful when slurring into the atissimo register in slow moving, wide intervals. They are equally secure for aniculated passages as well, 2. They are stable in pitch and tone, possess a wider dynamic range and Ihave a fuller tone than most “regular” fingerings. Caution: some may tune sharp below a “mf" level. 3, Because more fingers are used in these fingering, they are not recommended for fast, technical passages. Excellent for fast slurs e-eb-c. See also cadenza in Makris’ Acgean Festival Overture 35 Here isa versatile fingering for high F# which has fine response and stability ~ como PA. fo Pe ee Ge ee = ‘Copland, Concerto is i re optional An Outline of Clarinet Literature by Prof Hey Gali, Indien Usinesity ‘Comments on the Clarinet Literature Chart 1. For carn! performer teachers, Ihave compiled ths selene lit of muri. Arbitrary labeling and pigeon haling, re necesary, and space lied: nevertheless hope Hat ial be help 2. Although mos of the beter Mteratur i ere, any such

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