Alfred Reed

Scherzo Fantastique

for Bh or fh Contrabass Clarinet and Piano

Master Lesson Plan by Don McCathren

MRRK/ MUK
(OMPRNY

H-Xr.i;;*ARD"
 MASTER LESSON
This MASTER LESSON }zs fos€ip.plppr6red to a8sist the stdent in correctly masteriry SCEmZO rArTA.STIQUE. To
make b€st use of the master lesson, the sfudent, wtenever a small numhr apears iu the solo pa.rt, sbould refer to t&e aatching
aumber found aext to the appropriate comment listed below. These csnments should always be referred to as the music ia
praeticed. By applymg the authorrs suggestiotrs, &fficultpassages will be mastered mote eaiily. In every caae, however,
diflicult passages and trouble 6pots must be practiced over and over until free from problems.
In playing the Contrabass Clarinet, it is suggested that the student use a medium-soft reed. Best results are
obtained when a mouthpiece with a relatively open-tipped facing is used. In forming the embouchure, the student should rest
the upper teeth firmly on the top of the mouthpiece and bring the lower lip lightly to the reed, The corners of the lips sbould
bebrowhttothemouthpieceina"pucker.,'Thebreathshouldbetakenfromthediaphragmandtheairblownslowlyintothe
irstrument as if sayiug the word I'ivho.r' This same relaxed embouchure should be used over the entire range of the
instrument.

COMMENTS AND SUGGESTIONS

1) While the title SCHERZO FANTASTIQUE has no specific meaning, the musie will be more meaningful if played
with a certain lightness and with strong dynamic contrasts.
Z) The line through the il common time,, (4/ 4\ sign indicates that the f eeling of each measure sbould be two beats to
the bar. This sigx is referred to as "cut time.rl
B) The indication allegretto lglE,]!9rlgginstructs the pe,rformer to piay the music at a moderate speed , but with
ircut time", a half note
lightness and a-lint of *V"t""y. ffr" indication d = 88-92 means that, since it is
will equal one beat in the two beat measure and that the metronome should be set at anywhere between 88 and 92
beats to the minute,
4,) The dot rmder the quarter note indicates that the note is to be shortened. Think of it as being an eighth note
followed by an eighth rest, Although the eighth uotes that follow are not marked with the staccato marking' they
shoutd also be played so that there is a space between each note.
5) -p loa
marc. e sempre stacc. means that the music is to be played softly, br:t with each note well pronounced and
qt49e@.
always spaced lightly apart. marc . is the abbreviation for marcato and 8tacc. is the abbreviationfor

6) There is a tendency, when going across the rrbreak't from the B to the C , to tighten the embouchure ' Avoid this '
for a tightened embouchure may cause the instrument to squeak or the note to sound sharp. Use a little nlore
breath support and make the air move slightly faster by lifting ttre tongpe as if saying the letter "a".
?) This passage can be played more easily by keeping the right-hand firgers down from the B across the G ' The
C can then be played by simply closing the left-hand fingers. The right-hand fingers can be held down niben
playing the throat tones G, G#, A and Bb. Generally, vfuea playing from a note or notes which use right-hand
fingers, keeP the right hand down.
g)
' sfz is an abbreviation for sforzando . It means to ptay with force or emphasis . The word poco means little.
tt U", the D# should be ptaye.^ with a little more emphasis tlan it would receive if it were marked with an accent
(= )'
9) g9 a poco cresc. meatrs to get progressively louder, little by little'
10) I subito means to play the first note at letter@suddenly very softly. This contrasting use of dynamics is very
effective but it requires control and should be!-racticed stowly util a pmnounced "loud--Eudden soft" effect ls
finally achieved.
I l) Make sure to start playing the tied-over A with a full tone so that an effective diminueudo (softening) can be made.
In order to prevent the tone from sharpening, it may be necessary to gradually relax the embouchure.
lll The small notes are known as "cue notes,' and are added to assiEt the soloist in foLlowing the music being played
by the accompanist . They also help to indicate to the soloist vihen to make his entrance .
1A) The style of the solo part at this point changes to a lyrical, siuging line, played with e:pression. The notes
should be played smoothly and alt tonguing should be legato . This type of tonguing consistB of placing the tip of
thetonguetothetipofthereedasif sayingrrlah.rr DonotstoptheairbetweenthenoteBwhentonguinginthie
' fashion.
14) It may be necessary not only to loosen the embouchure aE you make a decreseendo, but also to add the low F key.
This will keep the note from becoming sharp. The A should be played fully at the beginning so that there is
sufficient tone to effect the diminuendo.
lE) poco r:!!. Eitagandg) means to get slightly slower. At letterO g tempo indicates that the eoloist should
immediately go back to the tempo established before the poco rit.
16) The D will be easier to play if the right-hand fingers are held down while playrng the A. Take care to enter on
time. Also, play the scale-like passage which follows in the succeeding bars evenly and smoothly.
1?) The small note is called a grace note and it is to be ptayed quickly and lightly , A grace noters time value is
,stolen'! from the preceding rest or note so that tle following full-sized note is played exactly in its proper time.
It may be helpful to practice first without using the grace notes, then add them later.
18) sonore means to play with resonance . This is the climax of this solo and the notes should be played as fully
as possible. Note that the music is written in the form of a triple canon . the melody is given first to the
pianist in the right hand. One beat later it is taken up by the pianist's left hand and, another beat later, the
clarinet Picks it uP.
l9) Iu order to make this passage sound smoother and easier to play, hold the right-hand fingers down across the
A, Grand A.
2Ol morendo means to die away. The sound throughout this last line of music should become constantly softer and
s"fte" finally, the last note is played so softly that it fades into nothingness. While being played so
softly, "ntit,
however, it must still be heard clearly. Also, make certain that the sixteenth-note triplet i8 played
exacily in rhythm. Practice it at first using four beats to the measure.

The author hopes that this Master Lesson will be of help in the study and mastery of this excellent solo. Please bear
in mind ttrat slow, careful, daily practice is the key to mastery of this eolo.
 lot Robezt E. Egre 2

Scherzo Fantastique
for Eb or Bb Contrabass Clarinets* and Piano

Duration: ca. 2 min. 45 sec.

ALFRED REED
Edited by DonaW E. McCethrea
Allegretto misterioso (J = 88-92)
Eb
Clarinet
p rna ?narc. e sempre stacc. Fco
Allegretto misterioso 1J = ae-
Bb
Contrabass
Clarinet a .-?p,co
p ma marc. e sempte stacc.
Allegretto misterioso () =88-92)

7 tr>\\_.-/
Pi"otfr -*f,
>
Poco s1ft -mf,

@-'
Po,ro a Pgao cres::
-

* Grade III
Copyright O 1966 Piedmont Music Company
International Copyright Secured All Rights Reserved
Used By Permission
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