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Notre Dame College Marching Band

Woodwind Technique Book

Clarinet
Table of Contents
Information and Explanations-------------------------------------------------- pg. 1-2
Singing ----------------------------------------------------------------------- pg. 1
Tuning------------------------------------------------------------------------ pg. 1
Attack, Sustain & Release------------------------------------------------- pg. 1
Articulation Terms---------------------------------------------------------- pg. 1
Physical Fitness------------------------------------------------------------- pg. 2
Timing---------------------------------------------------------------------- pg. 2
Rehearsal Etiquette-------------------------------------------------------- pg. 2
Body Posture----------------------------------------------------------------- pg. 2
Finger Posture--------------------------------------------------------------- pg. 2

Breathing---------------------------------------------------------------------------- pg. 3
Articulation------------------------------------------------------------------------- pg. 4

Tone Development----------------------------------------------------------------- pg. 5


Tone Development Stamp Exercise--------------------------------------------- pg. 6

Flexibility and Technique------------------------------------------------------- pg. 7


Technique --------------------------------------------------------------------------- pg. 8

Green Scales------------------------------------------------------------------------ pg. 9


Tech Scales-------------------------------------------------------------------------- pg. 9
Hal Flex------------------------------------------------------------------------------ pg. 10
Circle of Fifths---------------------------------------------------------------------- pg. 10

Intonation---------------------------------------------------------------------------- pg. 11
Clarinet Only Exercise------------------------------------------------------------- pg. 12

Major Scales Key Signatures Moving by 4th------------------------------------ pg. 13/14


Major Scales Accidental/Full Ranges by Semitone--------------------------- pg. 15/16

Clarinet Fingering Chart------------------------------------------------------- pg. 17


Clarinet Key Diagram & Trill Exercise---------------------------------------- pg. 18
Clarinet Trill Fingering Chart-------------------------------------------------- pg 19/20
Singing Tuning

We will sing everything we play. Singing helps to LISTEN, your ears are your greatest ally! Hear the
hear the correct pitches and greatly improves intona- pitch before you play it. We will sing a lot to solidify
tion and style. We will sing the same way we play, our tonal center. When in doubt use a tuner. Get to
beginning with a good breath, and starting each new know the pitch tendencies of your instrument. We will
articulated note with (tAH). We may occasionally discuss this further as the season progresses but cer-
change the vowel sound depending on range of note tain intervals will have different tunings, certain notes
but the important thing is that we are all signing the on your instrument may need adjusting. This is all in
same way. addition to the general tuning of your instrument.

The vowel sound and artiulation we sing should To tune your Clarinet, Check open G. Move the
match what we would do on the Clarinet. The more barrel out to make it flat and in to make it sharp. Next
fingers you have down the more Ah the vowel the less check Middle C and move the mid-joint in to make
the more Ee the vowel sound. The beginning conso- it sharper and out to make it flatter. All other notes
nants should match the style of attack required for should be tuned by mouth. Jaw pressure makes notes
each note see ASR Below. sharper. Air speed makes notes flatter. If pitch is con-
sistently flat in all registers make sure you are putting
We will frequently sing during visual oriented re- adequette right hand pressure with the right thumb.
hearsals. Correct pitches are very important!

Attack, Sustain and Release

Attack is the beginning of the note. It is controlled by the air and cleaned by the consonant sound. A “T” sound
is best for a crisp front and is used for Secco, Staccato, Accent and Marcato. A “D” sound is softer and is better
for Legato and Tenuto in Marching Band. An “L” sound is best for the softest of articulations and is best for
Legato and Tunto in Concert and indoor venues.

Sustain is the main body of the note and, since it is the longest part of the note, it should be thought of as the
msot important part of the note. This is the part of the note that controls loudness. Also, this is the part of the
note that gives the note its tone. Proper air speed is critial to acheiving good tone on the clarinet. Although
clarinet can be quiet, It is not a quiet instrument. Take care to always play will a big powerful, but not nasal
sound. You should strive for the msot characteristic tone possible at all times.

Release is how you end the note. For shorter notes, the release is usually part of the attack of the next note, and
you should only think about the attack of the next note to acheive good release. For longer notes with no note
directly after the release of the note should be acheived by breathing in. There are soft releases and hard releas-
es and the only difference between the two is how quicly the breath in is taken.

Articulation Terms

Secco - Dry with as little sustain as possible Accent - Slightly spaced with weight Legato - Smooth, Sustain to the next note
Staccato - Space with a Short Sustain Marcato - Marked with emphasis Tenuto - Weighted with sustain to the next note
lift - Boucy with release decrescendoing to the next note’s attack

1
Physical Fitness Timing

This is an extremely important part to marching and FEET! We will occasionally have you stand still to
playing! You will reach the same physical stress level focus on playing but 90% of the time you will mark
as an athlete during parts of the show and it is im- time. The feet must be in time with the Dr. Beat or
portant to think of yourself as an athlete. You must Drum Major, and your playing should line up with
prepare as such, don’t wait until August! We will help your feet. We will also take step-outs at the begin-
guide you in the conditioning process and will discuss ning of each exercise. Everything will have an 8 count
this in more detail in the Visual Technique Book. start; mark time begins on count 5. We will define the
mark time and step outs in the Visual Technique Book.

Rehearsal Etiquette

Rehearsals will start exactly on time so that we can release you exactly on time. If rehearsal begins at 6:00pm,
you are expected to be setting up in block at 5:55pm. You are expected to have everything you need in every
rehearsal. The basics are Instrument, Music, Dot Book, pencil, water bottle, and proper footwear (tennis shoes
or marching shoes). You are expected to follow the school dress code in every rehearsal, whether on school
property or not. We ask that you stand at standby unless you are told to relax. Standby is a position of readiness
where we can give instruction without you needing to be set.
This will be discussed further in the Visual Technique Book

Body Posture Finger Posture

Everything about playing the concert in concert This is an extremely important part for technique. If
should be relaxed and shold cause no bodily discom- your fingers are not in good playing position you will
fort not be able to play fluidly and fast as you will need
to. Also, bad finger positioning can cause pain and
The body needs to be in line forming as many and as lead to early tendonitis and eventially carpal-tunnel
strict of parallel and perpendicular lines as possible. syndrome.
When facing the sideline, the shoulders should be
exactly parallel to the sidelines and exactly perpen- The front part of the pad of the finger should fit in the
dicular to the yardlines. Keeping these lines is of metal circles on the clarinet. Take care to cover the
the utmost of importance when setting could playing holes at all times. The fingers should then be round
position. and relaxed to form C’s. If held correctly, you can
rotate the mouthpiece towards your head, look down
When the clarinet is down, it should be in front of your clarinet and see your hands as two joining circles
your body straight up and down with the top of your with your clarinet in the center. you should have
mouthpiece at eye level. ample open space between your palms and the side of
the clarinet.
When the clarinet is up it should be at a 45 degree
angle to your mouth. Take care not to bring your
clarinet too far in towards your body. It should be
away or your mouthpiece will not enter your mouth at
the right angle.

2
Ia. Breathing

* On the E’s - Replace Exhale with

*This exercise is used to facilitate breath control. Breathing is the key to any wind instrument.
The breath should be taken in with an open throat and should then be turned around to the ex-
hale without closing the throat. Essentially, you should be saying the consonant sound “H” on
the inhale and on the exhale.

3
Ib. Articulation - Attack, Sustain and Release

1
I I I I IIIII I I
Tenuto

N 5 5 5 5 55555 5 5 4 ? 5 5 5 5 55555 5 5 4 ?
Legato

IM IM IM IM IM IM IM IM IM IM IM
Lifted

I
I
I
I
I
I
I
I
I
I
I
Long Accent

5 5 5 5 55555 5 5 4 ? 5 5 5 5 55555 5 5 4 ?

Accent

M
M
M
M
M
M
M
M
M
M
M
Staccato Accent

5 5 5 5 55555 5 5 4 ? 5 5 5 5 55555 5 5 4 ?

      
Marcato
M M M M M M M M M M M
Staccato

5 5 5 5 55555 5 5 4 ? 5 5 5 5 55555 5 5 4 ?

, , , , , , , , , , ,
Secco

5 5 5 5 55555 5 5 4 ?

*This exercise is used to facilitate breath control through the three main parts of each note.
This is known as articulation. Breathing is the key to articulation. The attack should be less
important than the main body (the sustain) of each note, and each release should be a breath in
or the attack of the next adjacent note.

4
II. Tone Development

IIa.

IIb.

IIc.

5
II. Tone Development - Stamp Exercise

 B B  EB B B = 4 ?
G B B ' 5 =4 ?
B E' 5
!B B B B B
9
= 4 ? B = 4 ?
G ' 5 ' 5
B B
B B
17

B ' = 4 ? B B B = 4 ?
G 5 ' 5
25  B B
G EB B
EB E ' =4 ? !B B
B =4 ?
5 ' 5
EB B
B B
B '
33

G B B B  = 4 ? B 5= 4 ?
' 5 
B
41
B B B  EB B 
G B ' 5 =4 ? EB E' 5 =4 ?
EB
B B  = 4
49

G B B ' 5 ?

*This exercise is used to facilitate embouchure and air speed control. The intervals should be
slurred as much as possible. When the fingering doesn’t change you should strive for as fluid
of a transition between notes as possible. This will give you the maximum benefit for tone
development.

6
III. Flexibility and Technique
III. a
5 5 555555 55555 5 0
E5 E5
5E5E5 5 5 5 5 5E5E5 5 5 0
G

55 5 5 5 5 5 5 55 5 5 5 5E5 5 5 5 5 5 5 5E5 5 5 5


G 5 5 0 0

5 5
G 55 55 5 5 5 55 55 5 0 55555555 55555 5 0

G E5E5E5 5E5 5 5 5 E5E5E5 5E5 5 0

III. b,d,c
5 5 5 5 5 5 5 5 5 5 55 5 55 55 5 5 0 5E5E5 5E5 5 5 5 5E5E5 5E5 55 5 5 5 5 0
G

55 5 5 5 5 5 555 5 55 5 5 5 5 0 5 5E5 5 5 5 5 5 5 5E5 5 5 5 5 5 5 5 5 0


G 5 5

5 5 5
G 55 55 5 5 5 55 55 5 55 5 5 0 5 5 5 5 5 5 5 5 5 555 5 55 5 5 5 5 0

G E5E5E5 5E5 5 5 5 E5E5E5 5E5 5 5 5 5 5 5 0

7
Technique

1
5 5 5 55555555 5 55
5 5 55555 5 555
G 55 5 5  =

E5 E5 5 E5 E5E 5 5 5 5 5 5 5 5 5 5 E5 5 E5 E5
G 5 5 E5 E5 E5 5 5 5 5 5

=

 5 5 5 5  5 5 5 5 5 5 5 5 5 5
G 5 5 5 5 5 5 5 5 5 5 5 5 5 =
5 5 
E5 5 5 E5 E5 5 5 5 5 5 5 5 5 5 5 5 E5 
G 5 5 5 5 5
E5 E5 5 5 5 5 5 =

E5 5  5 !5 55 E5 5 ! 5 ! 5 !5 5 ! 5 5 5 5 5 '
E5 5 5E5 E5E5!5E5
G 55 !5!5 5 5 !5

2
8B))))))))))) k 5 5M 5M M 5M 5M
5
5 5 M
5 5M 5 M
M =
5 5 5 5 5 5 5 5 5 I5
5
5
G   =
7
8B))))))))))) k 5 E 5M 5M 5M 5M 5M
M
5E 5 E 5 E 5 E5 E5 M M 5M 5 5 5 5 I
G 5 = 5E5E5 E5 5 =

7
 8B))))))))))) k 5 5M 5M 5M 5M 5M

5 5 M M M
M 5 5 5 5 5 5 5 5 5 5 5 I
G 5 = 5 5 5 =

7 8B))))))))))) k 5 5M 5M M 5M 5M
5

5 E 5 E5 M
5 E5M 5M 5 5 5 5 5 =
G 5M = 5 5E5 5
E 5
I
85 85 ! 85
5555 '
7


5 55 5!5 5 
E5E5!5E5E5 E 5 !
5!5 5!5!5 ! 5 5
G M 5 =  5 ! 5 !
7 7 7

8
Scales Should be played in all keys, at varying tempi at with different articulations. Playing scales
is they key to good technique. Green Scales should be played at slower tempi and then little by little
the tempo should be increased. After Green Scales are comfortable, Tech Scales Should be started
at a faster tempo and then increased until you reach your limit of being able to play it with all notes
being even and steady. Push yourself further than you think you can go. Challenge yourself to the
harder scales more often the easier ones. This is how you will grow.

Green Scales

*Play with varying patterns (slur all, slur 3 tongue 1, slur 2 tongue 2, tongue all (legato and staccato), etc.)
Play in every key.

Tech Scales

*Play with varying patterns (slur all, slur 3 tongue 1, slur 2 tongue 2, tongue all (legato and staccato), etc.)
Play in every key.

9
Hal Flex

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 B:
5 5 5 4
G
5 55 5 5 5 5 B:
EEEE 5 5 5 5 5 5555 555 55555 4
G E

 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 B:
G 5 5 5 4
EEE 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 B : 4
G

  5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 B:
G  5 5 5 4

E 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 B: 4
G

10
III. Intonation

*LISTEN, LISTEN, LISTEN! Sing then play. This exercise focus on the intervals and your position in
the chord. We will play this at ppp and fff and learn to control the pitch at every dynamic. Play with you
absolute best tone possible and make sure that you are not creating any waves. Even dissonances have a
certain place where they ring. Listen for an even grinding on dissonances that is still pleasant.

11
Exercises for Clarinet
Twelfths
w w bw w bw
&
w w bw w bw
w w #w w bw
& bw
w bw w w
w bw w w œ œ œ œ œ U̇
&w œ
bw w w
Alternate Clarion Register Exercise
œ œ œ œ œ œ œ œ œU
& œ œ œ œ œ œ
œ b œ œ œ œ œ œ œ œb œ œ
œ œ œ˙ œ
Break Preparation Exercise
& .. # œ œ œ œ .. .. œ œ œ œ .. .. œ œ œ œ .. .. œ œ .. .. œ b œ œ œ .. .. œ b œ œ œ .. .. b œ œ ..
œ œ œ œ
Twelfths + Sixths or Long Twelfths; High note fingerings
# w* w* bw w
˙
CHRO
+RK
˙ ˙ * #˙
& ˙
˙ w b˙ #w ˙ w
#˙ ˙ b˙
& #˙ ˙ b˙
* slide left first finger down gradually venting the tone hole to reach this note
Alternate Altissimo Register Exercises and Chromatic Fingering Exercise

œ œ #œ œ bœ œ bœ œ . w
ch ch
ch

& .. .. ..
ch

.
œ # œ œ œ b œch œ œ b œ ch w w
#œ œ #œ œ œ œ bœ œ #w
˙
& .. .. ..
œ # œs œ œ # œ* œ b œ* œ œ b œs
..
w
˙
High Note Fingerings
w #w bw w w #w bw w
#w
&
Ro Ro Ro Ro Ro Ro Ro Ro
** ** ** ** ** ** ** **
* * * * * * o o
___– __ _– _ __– _ __– _ _ _– _ _C#
_ (C#)
___ _ _ _–
* * * o o o o *
* o o o o o o *
o o Bch * o o (Bch) o
– Aß Aß Aß Aß Aß Aß Aß
12
Major Scales
Clarinet

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5
C

G 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5
F

G 5 5 5 5 5 5 5 5 5 5 5 5


Bb

G 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5
5 5
5 5 5 5 5

 5 5 5 5 5 5 5 5
Eb

G  5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
Ab

G 

5 5 5 5 5 5 5 5 5 5 5 5 5
 5 5 5 5 5 5 5 5 5 5
Db - Enharmonic with C#


G 

EE E EE 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
E
C# - Enharmonic with Db

G E

13
2


Gb - Enharmonic with F#

G   5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5

EEEE E
F# - Enharmonic with Gb

G E 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5

 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5
Cb - Enhamronic with B

G    5 5 5 5

EE E 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
E
B

G E

EEEE 5 5 5 5 5 5 5 5 5 5 5
E

G 5 5 5 5 5 5 5 5 5 5 5 5

EEE 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
A

G 5 5 5 5 5

5 5 5 5 5 5 5
EE 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
D

E 5 5 5 5 5 5 5 5 5 5
G

G 5 5 5 5 5 5 5 5 5 5 5 5 5

14
Major Scales
Clarinet
C

 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5

 5  5  5 5  5  5 5  5  5 5 5 5  5 5 5
Db - Enharmonic to C#

5  5 5  5 5 5 5 5 5  5 5 5 5 5 5
G  5 5 5 5 5 5 5 5 5 5 5  5 5 5 5 5

E5 E 5 E 5 E 5 E 5 E 5 E 5 E5 E5 E5 E5 E5 E 5 5 5
C# - Enharmonic to Db

E5 E5 E5 E5
G EE55 E5 E5 E5 E5 E5 E5 E5 E5 E5 E5 E5 E5 E5 E5 EE55 EE55 E5 E5 E5 5 5 55

5 E5 5 5 E5 5 5
5 5 E5 5 55 5 E5 5 5 E5 5 55 5 E5 5 5 5 E5 55 5 55 5 5
D

G 5 5 E5 5 5 E5 5 5 5 E5 5 5

5  5  5 5 5 5 5 5 5 5 5 5  5 5 5
 5 5 5 5 5 5  5 5 5 5 5 5 5 5  5 5 5 5 5 5
5
Eb

G 5 5 5 5 5 5  5 5 5 5

E 5 5 5 E 5 E 5 5 5 E 5 E 5 5 5 E5 E 5 5 5 5
5 E5 E 5 E5 5 5 E5 E5 5 5 E5 5 5 5 5 5 5
E

G 5 E5 E5 5 5 5
E 5 5 5 E 5 E5 5 5 E5 E 5 5 5 EE55 E5 5 5 EE55 5 5 5 55 5
5 E5 E5 5 5 5

5  5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5
5F
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5

15
E 5 E 5 E 5 E 5 E 5 E 5 E 5 E 5 5 E 5 E5 E5 E5 5 5
2 F# - Enharmonic to Gb

E5 E5 E 5 5 E5 E5 E5 E5 E5 E5 E 5 E5 5
G E5 E5 E5 5 EE55 EE55 E5 E5 E5 E5 EE55 EE55 5 E5 E5 E5 E5 E5 EE55 E5 55 5 5
E5 E5 E5 5 5 E5 E5 E5 E5 E5 5 5

 5  5 5 5 5 5 5 5 5 5  5 5 5
Db - Enharmonic to F#

 5  5
5  5 5 5 5 5  5  5 5 5 5 5  5  5 5 5  5 5 5 5
 5
G 5 5 5  5 5 5 5 5  5 5 5 5  5 5 5  5 5  5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5

5 E5 5 5 E5 5 5
5 5 5 5 55 5 E5 5 5 E5 5 55 5 5 5 5 5 5 55 5 55 5 5
G 5 5 5 55 5 5 E5 5 5 E5 5 5 55 5 5 5 5 5 5 5 5 5 5
G

5 5 5 5 5 5 5 5 5 5

5 5 5  5  5 5 5 5 5 5 5 5  5 5 5
Ab

G 5  5 5  5 5
5  5  5 5 5 5  5 5 5 5 5 5  5 5 5 5 5 5 5 5
5  5 5 5 5 5

E5 5 5 E5 E5 5 5 E5 E5 5 5 E5 5 E5 5 5 5
5 5 5 5
A
5
G 5 E 5 5 5 E5 E5 5 5 E5 E5 5 5 E 5 5 5
5 5 5 5 5 E5 5 5 5

5 5  5  5 5 5 5 5 5 5 5 5
Bb

 5 5 5
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 5
5 5 5
5 5 5 5

E5 E5 E 5 5 5 E 5 E5 E5 5 E5 E5 E5 5 5 5
B - Enharmonic to Cb

E 5 E5 5 E5
G 5 E5 5 E5 E5 E5 5 5 E5 E5 E5 5 E5 5 5 E5 5 5
E5 5
5
5 E 5 E 5 5 5 5

5 5 5 5 5
5 5 5 55 5 5 5 5 55 5 5 5 5 5 5 5 5 5 5 5 5
Cb - Enharmonic to B

 5  5
G 5 5 5 5 5 5 5 5 5 5 5
5  5  5 5 5

16
17
18
19
20

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