Clarinet Tone Exercises All Claris med All Exercises Intended to Be Played William Hollifield with a Tuner and without a Metronome N on Long Tones ta = : a mn ‘Dynamic Long Tones (Using Any Dynamic, Dynamic : Combination tac Rakes) 2 io 4 a a ao aA = = = = cs ov nf aia PP <_ =n = Register Key Exercise (aka 12th's, Indiana Bxercise) a a a a a 2) = =" = se = 5 = F = f tf f tf Double Lip Embouchure (Regular Clarinet Embouchure with Top Lip Placed Between ‘Top Testh & Mouthpiece AA o Voicing: 6's High Not To Be Played While Maisuining the Fingering fr the Noein Parnthess a a a ma a aN 5. (Fe me RB —2& a Fs = SSE Ate gece Cent 1 Smnulyan Bxercise = SS SS SS SS SNS = © Sep. 6,2011 ‘www. WilimnHolifiel.com2 Clarinet Tone Exercises ‘Octaves: Slurred, no bending = continue to Eb ail oll 2. Octaves: Slurred, no bendin = s > SF Playing Only On Mouthpiece & Barrel one continue to Eb jo, Revister Key Overtones \www-WilliamHoTlifield.comClarinet Long-Tone Exercises Figure 1 ‘Use no tongue on start ah ae Each week choose one of the following dynamic markings and perform each measure for 8,12, or 16 counts: 2. >. === Figure 2, i i m~ = A Use Chromatic fingerings aD Use Clromatic fingerings Maintin same tone™ quity Figure 4 Use metronome setting cfd = 72 ps xe your quickest: %, 120, or 132 Continue up to your highest "F" Play at FortissimnoLow Clarinet Chromatic Technique Exercises Figure 6 First Octave Chromatic Use Chromatic B-natural d=0 J 6 fet dt ene Second Octave ‘Third Octave Chromatic Maintain proper use of right hand/Left hand in altissimo register be ab Full Chromatic Include all fingering considerations fiom the examples above f SS ei ans a 4 aArticulation Exercises Figue 5 Play Fortssimo ‘Throughout Use this patie through all keys and throughout the range of the instrumento EL "STACCATO" El staccato 20 ojeouta con un poquetio golpe de lengua como pronunciando la silaba fa para atacar la nota.19EJERCICIOS PREPARATORIOS PARA LA ESCALA CROMATICA ESCALA CROMATICA 2 to Hégonse estas notas solamente cuando Ja embocadura esté bien formada. je bad we ee be 5 Gi El sonido de la 1.° nota debe conducirse a la 2." como si se estuviere haciendo una sola nota CF ae ‘SBGUNDASSer ee ee 2 2 2 Se ONES SSE = = 7 ee =f ae ae MINOR CHORDS ON STEPS OF DIATONIO SCALE DOMINANT 7th CHORDS ON STEPS OF DIATONIO SCALE . Ee ws re at. . + be: pfeil te tert 5Arpegios de Séptima dominanteArpegios de Séptima disminuida — eer eens —_Interval Studies with Articulations