bhs band warm-up packet...
TRANSCRIPT
BHS BAND WARM-UP PACKET CLARINET
Fingering Chart ........ 1
Intonation Tendencies 2
Long-tones 4
Circle of Fifths 5
Articulation 6
Flexibility/Technique 8
Scales 13
Chorales 18
‘Need to Know” 24
Theory 25
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çhTendencies&AdjstmentsClarinetF’ Flat
(Notes not addressed areS Sharpgenerafly acceptable)V Very
l!2H Half hole
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Pitch
Tendency F F F F F SAdjustment No 1,2, 3,4 & RT Use I & 4 none LTI & Si Add 4, 5,6Fingering
Adjustment
43,
S vs s S S S
Use 3, 4, 5, 6 Use A & S4 or None Use A & S4 None half hole Iand RPI 3,4 and RPI or I & 4 Possible shadingof left hand
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S S VF VF Fhalfhole I LTI. l/2H 1,2.3 LTI, l.2,3,LP4 LTI, 1,2, LTI,2,4,5,RP45andRP4 4,5,6 4,5,6,RP4 or LTI. i,4,RP4
or LTI.RP4
page 15
Clarinet
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page 14
3êThe Tuning Process
Wood winds
psp.ficcQIQi Play diatonically from top line F up to Bb three or four times. Tune the Bb Scents
sharp. (Note: Bb on piccolo is not always the most centered note. If you find this to be true. tune to top line
F playing UP from 3rd space C three or four times. Again tune approximately 8 cents sharp.) Be aware that
many piccolo and flute players tune with more air than needed. This pushes the pitch up considerably. Play
with what Emory Reinmington called ‘a conversational breath.’ This will give you a more accurate reading.
Be aware of the head joint and its adjustment, as this has a severe influence on the pitch. (Note: Bb above
the staff should be well centered. Use frequent checks to see if this note stays constant.)
Oboe: Being aware of the problems that the reed and instrument present, it is still imperative that we become
consistent in our approach to tuning. Play diatonically from 1st space F up to 3rd tine Bb three or four times.
The Bb should be slightly sharp. Then play diatonically from 3rd line Bb up to F three or four times. The
F, especially the fork fingering, will be slightly sharp. If you use the regular fingering for top line F, the pitch
will tend to be flat. (Note: A reed of approx. 70mm is recommended to achieve the desired pitch without
squeezing.) Constantly check 2nd space A and A above the staff as this is the most centered note on the horn.
B.n: The instrument, reed and bocal have a great deal to do with the pitch of this instrument. Check
the 2nd line Bb and 4th line F, playing to both of them diatonically from below three or four times. If these
notes are not close to the required pitch immediately work with the bocals (size 00 to 4 from small to large
or sharp to flat) and the reed lengths. The reed should be 2-1/8” overall and a #2 bocal on a good instrument
should work best. Also be aware of the distance the reed fits on to the bocal. Too much or too little will cause
the instrument to play far enough out of tune so that accurate tuning will be impossible. It is important to
note that choosing a qualified student, instrument, reed and bocal will fend to make the pitch problems
less frustrating for you and your double reed players.
Clarinet: Check 2nd line G and adjust the barrel (approx. 1/8 inch). Then check low C. If it is sharp, adjustthe middle joint. Finally check 3rd spaceC. If this note is also sharp, adjust the bell. (Note: If this ad)ustmentfurther flattens low F then disregard.) Once this is completed, play up to each note, diatonically, three orfour times to insure consistency. (Note: Most student clarinets are built sharp. This is why it is imperative
to secure an accurate reading on 2nd line G first.)
AJiQnd Ban Sax: First check 2nd line G. It should be very close to the centered pitch. Second check
G above the staff, This note should register slightly sharp. Play up to these notes diatonically, from 1), three
or four times. (Note: Top line F sharp is the best note to check for zero tolerance.)
ThnoLS Follow the same procedure as alto sax. Second line G should be almost perfect and G abovethe staff should be sharp. (Note: 3rd line B is the best note to check for zero tolerance.)
It is again noted that the quality of the instrument, reed, ligature and mouthpiece play a veryImportant part in the successful development of acceptable intonation.
page 5
B-flat OverlapBreathing!f
Clarinet in B Baldwin Band Standard WarmupsLong Tones
Separate
4 zPlayer 1 Player 2 Player 1 Player 2 Player 3
6 F Concert Paynter]
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- I - I13 B-flat Paynter (Descending)
J - IJI -
19 D Paynter (Descending)
U _j U II
22 F Paynter (Ascending)
.1 1,J I I II
25 Paynter (Skips)
I II
Appendix
(c minor)
A
(e flat minor)
A
(f sharp minor)
C
(a minor)
G
(e minor)
(d minor)
B
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D
Circle
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(f minor) D
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G
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Warm-Up Set 1
Option 1 (unison “lip slur” with brass)
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WarmUp Set 4
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:4BAND INFO “NEED TO KNOW”
Strategies for SMART practice:
1. Play rhythms on one pitch first if difficult
2. Look for patterns3. Play in a comfortable range first (down an octave?)
4. Isolate one challenge at a time
5. Work slow to fast (use a metronome)
6. Build from the middle
Logical Steps to Effective Intonation
1. Listen for “beats”2. Make an adjustment; if beats get faster, try the opposite until the beats slow and
eventually disappear.3. If you have to pinch to make the beats stop, make your instrument shorter
4. If you have to relax to make the beats stop, make your instrument longer
5. When you hear no beats while playing with your normal embouchure you are in tune!
Ways and Steps to Listening
1. If you hear yourself sticking out of the band’s sound you may be playing too loud. This is
BALANCE. See below for info on the Pyramid of Sound.
2. If you adjust your volume and still stick out of the band’s sound, adjust your posture,
embouchure, and breath support to make your tone mesh better. This is BLEND. Think
of putting your sound “inside” other voices...e.g. Alto’s try to fit “inside” the horn sound;
Trumpets try to fit “inside” the tuba sound.
3. If you adjust your volume and tone and still stick out of the band’s sound, you may be
out of tune. This is INTONATION (see above).4. Always listen down to the lowest instrument, to the people on either side of you, and to
yourself.
The Pyramid of Sound (BALANCE)
1. Higher voices are more easily heard than low voices; therefore to create a more
balanced sound, adjust all dynamics levels as follows.
2. Low voices (tuba, low brass, tenor sax) should be strongest...play at or above the written
dynamic level3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the
written dynamic level4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below
the written dynamic level
A scale is a series of single notes which ascend or descend in a stepwise manner within the range of an octave,
Because scales are arranged in a stepWiSe manner, the note names will always be in alphabetical order.
The notes within scales have a specific whole step/half step
jgyiic relationship with each other.C natural minor scale (lower the 3rd, 6th, and
7th scale degrees a half step).
mti H w w H w W
II/\rrni/\rn
C DEF GABCScale DeVees 1 2 3 4 5 6 7 8
C melodic minor scale (ascending lower the 3rd and descending lower the 7th, 6th,
and 3rd scale degrees a half step).
In1Crr,,I, W H w W W W 11 w w H W W H W
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CDEF GABC BAGF EDC
______
ScaleD ree5 1 2 3 4 5 6 7 8 7 6 S 4 3 2 1
Major 2nd Major 3rd Perfect 4th Perfect 5th Major 6th Major 7th PerteLt Octave
j I J j J J J-
From Bottom: From Bottom: From Bottom:
root-third-fifth third-fifth-root fifth-root-third
Scale and Chord Related Theory
C major scale (half steps are between scale degrees
3 - 4 and 7 - 8).
Intervals: W w H W W w H
I II I_e%.I1I ii
CDEFGABCScale Degrees: 1 2 3 4 6 7 8
Tonic Dominant Leading Tone
C harmonic minor scale (tower the 3rd and
6th scale degrees a half step).
Intervals: w H w w w+n
C DPF GABCScale DeXrecs: 1 2 3 4 5 6 7 8
Intervals of the C major scale:
Augiqtte4 &plmip.ishcd-, tevaL*fronC -
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C major triad (three note chord) in root position and inversions.I
A
Root Position First Inversion Second Tnversiori
Basic chord types constructed from C:
cntial Vocabulary: Major Minor Diminishedlower third lower third & fifth
Interval - the distance between two notes
Half Step - the closest interval between two notesII
Whole Step - an interval of two half steps Augmented Sus 4,ise fifth fourth replaces third
Third - the distance of two adjacent lines or two adjacent spaces-
Scale Degree - a note’s classification according to its position in the scale ITonic - the first note of a scale, the “key-note” from which the scale takes its name
Dominant - the fifth scale degree, chords built on this note are “dominant” and normally resolve to the tonic
Leading Tone - the seventh scale degree, It Is one half step below tonic and its tendency is to ‘lead or rise to the tonic
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