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    22 views88 pages

    Artie Shaw Clarinet Method

    Uploaded by

    Mauro Antic

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 88
    AV DY _ aa ARTIE SHAW CLARINET METHOD A SCHOOL OF MODERN CLARINET TECHNIC Whitten in Collaboration with ARNOLD BRILHART This book is not intended to replace any of the standard clarinet methods now in use. Ie is, rather, to be considered in the nature of a supplement. Its purpose is to provide a different type of ex- ercise for the student whose aim is to play not in the symphony but in the dance band. ‘This does not imply that there is any basic difference between the two kinds of music (which wwe shall, for purposes of distinction, henceforth call “legitimate,” and “jazz”)—or that one can be taught to play jazz. In order to play an instrument well, whether legitimately or in the jazz band, ‘one must at least know the fundamental rules that govern the correct playing of the instrument. However, there are certain idiomatic and technical differences in the two fields—certain arbitrary and traditional criteria that should be stripped away from the former—that make the publication of such a book as this, not only permissible but desirable. Let us consider, for example, the question of vibrato. A vibrato embellishes the otherwise dead tone of an instrument and makes it more pleasing to the ear by approximating the human voice. In legitimate solo work, most flutists, oboists, violinists, etc, use a vibrato, This is apparently considered al- together proper. Yet, peculiarly enough, this same vibrato is completely omitted when it comes to trumpet, trombone, clarinet, etc, It seems reasonable to play with a pure straight tone when you are playing as pare of a choir of instruments in unison or in such close harmony that the varying vibratos of differene musicians could cause dissonance or irregularities in the sound of the music, But I have never been able to fathom the old-fashioned tradition that when a legitimate clarinettist plays a solo passage, he feels it necessary to eliminate the vibrato altogether. ‘This is liable to make his instru- ment sound like a miniature fog-horn. ‘There are several conceptions regarding the so-called “proper” way to play the clarinet. Most of these exist because of the (for the most part) rigidly academic approach to the subject. It is in the hope of clearing the air of a few arbievary prejudices, as well as providing the student with a system of exercises designed to promote the reedom and flexibility of technique vital to unhampered per- formance in the jazz band, that I am offering this new CLARINET METHOD. Ate Slaw GENERAL HINTS 3 ‘The beginner should start his clarinet study under the guidance of a fine teacher. When attempting to learn an instrument without this aid, the many faults that develop are much harder to correct at a later time. This book is designed to bring out all of the important points for the beginner as well as the advanced student, and to show the connection between the legitimate and modern rhythm styles of playing. In selecting an instrument, it is wise to choose one of the well-known makes and have your teacher check the intonation, quality, and resonance of this particular instrument. In choosing a mouthpiece, the beginner should not select one with too open a facing. It is a common fault for clarinettists to play on mouthpieces that are far too open. This means that they have to use a softer reed and keep a constant pres- sure on the lower lip in order to close the reed up to the normal playing position. It is therefore essential to use a mouthpiece that will not require too much pressure for the proper tone production, Because the mouth, lip, and teeth formation of each person varies, there is no definite position of the embouchure which will apply to every player. There are certain basic principles, however, that I follow and recommend, ‘The upper teeth are placed lightly on the mouthpiece and the lower lip is rolled slightly over the lower teeth, The tongue is held so that when attacking a note, the tip of the tongue will touch the tip of the reed. Thus a clean attack is accomplished in two ways. (1) The tongue simultaneously stops the flow of air into the opening between the reed and mouthpiece. (2) It stops the vibration of the reed by touching its tip. The proper way to breathe is through the corners of the mouth. Further explanation of these points will be found in the following pages. ‘There are various opinions as to the proper kind of tone to produce on the clarinet, It is my opinion that due to the fact that music is judged solely by the way ic sounds to the human ear, the proper tone of the clarinet is one that sounds pleasing and not one governed strictly by tradition. After having compared the vibrato of the clarinet with that of the human voice, it seems odd to state thar the clarinet vibrato is accomplished in an entirely different way. Yet with the clarinet itis necessary, first, to eliminate any trace of stomach or throat vibrato, Practice long notes with a perfectly straight tone. After this procedure, the proper vibrato may be practiced as follows: using a variation in the pressure of the lower lip on the reed to control the speed of the vibrato, practice long tones and change the pressure of the lower lip in values of quarter notes, then eighth notes, keeping the tempo slow and uniform. ‘This pressure tends to make a pulsation in the flow of air into the instrument. This pulsation can be felt in the form of an oscillation of air in the mouth. ‘The speed of this pulsation is a matter of individual taste. A good way to check this is to listen to the world’s outstanding instrumental and vocal artists with the purpose of im- itating them. A great many clarinettists produce a vibrato by squeezing or relaxing the reed too much, thus giving a decided vibration in pitch and a rather offensive sound. In studying this book remember to keep your playing clean cut and precise at all times, ‘The following pages of simple scales and diatonic intervals are to be practiced very slowly and evenly in tempo. Although they appear to be rather simple, they are very important and a daily rou- tine of this practice will build a solid foundation for the more difficult studies to follow. SIMPLE C SCALES simile SIMPLE C SCALES SIMPLE C SCALES INTERVALS 7 (Thirds, Fourths, Fifths, Sixths) ‘The following exercises, based on the diatonic intervals of thirds, fourths, fifths, and sixths, are very important. They are written in the register of the clarinet commonly known as the “chroat-tones”. This register, one of the most difficult of the instrument, demands complete mastery. It is the connecting link between the first and second registers. Guard against lifting the hands from the instrument when playing these passages. A flexible, hinge-like wrist movement is required in order to obtain an even transition from register to register. Strive for a full, round tone. Great care must also be taken to avoid faulty intonation. THIRDS FOURTHS FIFTHS ‘SIXTHS rT PREFACE ON TONGUING art A clean attack is one of the first essentials of fine clarinet playing. In tonguing a note ot sroup of notes, it is necessary to start the flow of air and vibration of the reed as quickly and sharp- ly as possible. This is best accomplished by using the articulate sound of the letter “T” as pronounced in the word “tempo”. Using this “TE” sound, the tip of the tongue should touch the tip of the reed very lightly. The following two pages of simple tonguing exercises should be practised slowly and with per~ fect synchronization of the tongue and fingers. A further discussion of staccato and how to increase speed will be found on page 13. STACCATO open epepy eT ete, r = u STACCATO Part I PREFACE ON TONGUING 1. A rapid staccato can be acquired within a reasonable period of time through a systematic daily routine of scales as shown in the féllowing pages. ‘These exercises should be played slowly at first, placing particular stress on smooth and even articulation. The slurred figures are more difficult to perform perfectly than the staccato because the minute intervals between staccato notes disguise any irregularity in manipulating the keys of the instrument. However, as soon as the student feels that a reasonable smoothness has been attained, the tempo should be gradually in- creased. To obtain a rapid and clean staccato, ic is important to practise slowly and diligently. You will notice an imperceptible but definite advance toward the desired result if you will give your daily prac- tise the proper concentration. 2. The mechanical side of performing a rapid staccato should also be given daily attention un- til pertected. A continuous passage of air should flow through the mouthpiece. The vibration of the reed should be regulated by couching the ‘ip of the tongue to the fip of the reed, thus eliminating all lost motion of the tongue and allowing for more speed. 3. A third point is the perfect synchronization of the tongue and fingers. A reliable method of attaining results is to practise portions of scales alternately slurred and staccato, with a gradual increase in tempo, as described above. KEY OF C pee Reps each exe a at 5 tine B KEY OF C 1s ren 1A KEY OF F KEY OF Bb KEY OF Bb 18 KEY OF Eb nit i bene of Ine Bb hy > dill KEY OF Ab KEY OF D> ey KEY OF G eeeete fae KEY OF G eo E tae =I = sue 23 KEY OF D 25 KEY OF A KEY OF E 7 KEY OF E KEY OF B #2 peers = ea S eI CHROMATIC SCALES i The chromatic scale exercise is one of the best means by which the pupil can attain a liquid, flowing style, Great care must be taken when practicing these studies. They must be played very slowly and evenly at first. Tn this way, you will learn to play with precision and by a gradual increase in speed, your playing will become smooth and even, Never skip an exercise because you think it is too easy, or because it doesn’t look important. Without perfect ground-work, no musician can reach the peak of perfection toward which he must strive, Wate ecaconal whole tne kip 30 er MINOR SCALES Modern music is written in all keys. Present day composers and arrangers are resorting to “little used” signatures in order to produce a still wider range of tonal coloring. For this reason, it is neces- sary for the accomplished musician to have complete command of his instrument no matter how many sharps or flats are involved, The only method by which this knowledge can be acquired, is the sometimes boring, but important conscientious study of scales. The following minor scales are in- cluded for this purpose. ‘The same procedure of practice should be followed as has been recom- mended for the preceding major and chromatic scales. E MINOR piteite ae eee F MINOR a qa oe rT SSS F4 MINOR 34 G MINOR A MINOR BbMINOR a> steep lp Ete =a & AS Fost = B MINOR D MINOR Seaert 38 WHOLE TONES AA whole tone scale is one having a full step between each progression. ‘There are actually only two whole tone scales: No. 1 beginning on C or any note an even number of half steps higher or lower. No, 2 beginning on C# or any note an even number of half steps higher or lower. ‘The augmented Sth chord is closely connected with the whole tone scale, due to the fact that the notes of the augmented chord are spaced two full tones apart all of the way through the closed positions. In modern dance playing and improvising, it is bad taste to use complete whole tone scales for phrases. However, many of the modern passages are based on the augmented fifth chord, The following studies were designed to accustom the fingers and ear to these unusual progressions. These studies should be included in your daily routine of practice, along with the major, minor, and chro- matic scale exercises, 4, 2. & fe ‘ WHOLE TONE EXERCISES a ——— “sie vis pee 43 a4 THROAT TONE STUDIES These studies were not written with the idea of being “things of beauty. They are strictly mechanical “finger breakers” designed to improve the technique and sight-reading power of the player, The notes from == to arranged in unusual forms and variations will present some of the most difficult fingering problems on the clarinet. Practice these studies slowly and evenly. Due to the unmelodic sound, do not try to'memorize any of these passages. Stuy them for the strict purpose for which they, were intended, and the re- sults will be gratifying. Mae OVER He 16 Shari = Warious articulations can be used.) 46 SLURRED SEMITONES IN VARIOUS INTERVALS The following exercises are based on various inversions and forms of the half step interval or semitone. In playing these studies, strive for uniformity of tone and smoothness of rhythm. Consider each half step a minute part of the chromatic scale and strive to play these passages a 48 ARPEGGIOS AND RHYTHMIC FIGURES TO BE PLAYED IN STRICT RHYTHM I consider the following studies the most valuable studies ever written to accustom the player to the modern jazz idiom of playing. ‘The first four bars of each study is made up of arpeggios run- ring in urn through all the major and minor, keys. The second part consists of from four to eight bars of a rhythmic melodic figure in the same key as the preceding four bars. By joining together these arpeggios and figures and playing the whole study in strict rhythm, these studies will develop unusual fingering facility. ‘They will also train the ear to modern rhythmic figures based on chords in every key both major and minor. Do not attempt to play these fast until you have mastered them, C Major Repeat each exercise at Least times before proceeding to next key. Bb Major cettea~ eb G Minor * Eb Major 50 C Minor Db Major > Bb Minor Eb Minor 2) _ hee be gata ote tegato tongue =~ > b. B Major Gt Minor ii Soft tongue A Major Apiz D Major nee eye B Minor G Major 54 D Minor ARPEGGIOS IN MINOR THIRDS ‘The interval of the minor third is used in forming the diminished chord. There are three dis- tinct forms of this chord: (1) starting on C; (2) starting on C$; (3) starting on D. All other diminished chords are inversions of the above. The following studies are included for the purpose of facilitating a smoother, faster transition from register to register. Tt will be noticed that many awkward problems in fingering are presented in these studies. When practicing them, strive for a full round tone, taking care that the extremely high register does not become shrill and harsh. As these studies are to be played in strict tempo, they should not be started.at a fast tempo as the groups of sixteenths will present a stumbling block in legato phrasing. Naturally ghe speed should be increased as the student progresses. Moderato — 55 “Se page 3 for Bih mete Bugera COMBINATION ARPEGGIOS, SCALES AND ETUDES 61 No. ‘A general summarization of all preceding material will be found in the following etudes. They are based on scales, arpeggios, and intervals of the third, fourth, fifthi and sixth. ‘These exercises should be played smoothly with the thought of keeping them in a flowing style, If concientious study has been given to the earlier pages of this book, these studies should present no new problems to the student, but should help to organize what he has been studying. \ Fast \ HIGH NOTE FINGERINGS (BOEHM SYSTEM) Used and reopnmented by Artie Show a fa febo 2 fobs F ar c a a a Be B sngte —« Ge ) @ Gthey ‘ptonal ° ° O° ° ° . Lie . 28 : : . ° °° . : ° e

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