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BHS BAND WARMUP PACKET BASS CLARINET Fingering Chart I Intonation Tendencies 2 Long-tones 4 Circle of Fifths S Articulation 6 Flexibility/Technique 8 Scales 13 Chorales 18 “Need to Know” 24 Theory 25

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Page 1: BHS BAND WARMUP PACKET BASS CLARINEThsband.bwmusic.net/uploads/2/2/9/0/22902736/bass_clarinet... · BHS BAND WARMUP PACKET — BASS CLARINET Fingering Chart I ... Fingering AdjUstment

BHS BAND WARMUP PACKET — BASS CLARINET

Fingering Chart I

Intonation Tendencies 2

Long-tones 4

Circle of Fifths S

Articulation 6

Flexibility/Technique 8

Scales 13

Chorales 18

“Need to Know” 24

Theory 25

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Page 5: BHS BAND WARMUP PACKET BASS CLARINEThsband.bwmusic.net/uploads/2/2/9/0/22902736/bass_clarinet... · BHS BAND WARMUP PACKET — BASS CLARINET Fingering Chart I ... Fingering AdjUstment

F FlatS SharpV= Very/2H= Half hole

chTendes&AcIustmertsClarinet

(Notes not addressed acegenerally acceptable)

LTI, I/2H 1,2,35 and RP4

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LTI, 2,4,5, RP4or LTI, l,4,RP4or LTI,RP4

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half hole I LTI, 1,2, 3, LP44, 5, 6

page 15

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Clarinet

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page 14

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The Tuning ProcessWoodwinds

Ejj.ancE1ccQiQ.Si Play diatonically from top line F up to Bb three or four times. Tune the Bb 8 cents

sharp (Note: Bb on piccolo is not always the most centered note. If you find this to be tjij, 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 Remmington 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, itis still imperative that we become

consistent in our approach to tuning. Play diatonically from 1st space F up to 3rd line 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 slightiy 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.

Bassoon: 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” overali and a #2 hocal 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 tend to make the pitch problems

less frustrating for you and your double reed players.

Clarinei: Check 2nd line G and adjust the barrel (approx. 1/8 inch). Then check low C. If it is sharp, adjust

the middlejoint. Finally check 3rd space C. If this note is also sharp, adjust the bell. (Note: If this adjustment

further flattens low E then disregard.) Once this is completed, play up to each note, diatonically, three or

four 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.)

Aii and 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 D, three

or four times. (Note: Top line F sharp is the best note to check for zero tolerance.)

Ini..Sgx: Follow the same procedure as alto sax. Second line G should be almost perfect and G above

the 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 very

Important part in the successful development of acceptable intonation.

page 5

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Bass Clarinet in BLong Tones

_____

[iflat Scparate

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IIPlayer I P1a er 2 Player 1 Player 2 Player 3

6 j F Concert Paynter

___ - i -

13 B-flat Paynter (Descending)

_ -

H j H - r rr r19 D Paynter (Descending)

4 r r r22 F Paynter (Ascending)

4 F25 Paynter (Skips)

4 ‘F F

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Appendix

C G

(a minor)F

(d minor)

(e minor)

B6

(g minor)

E1

(C minor)

Circle

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(‘f sharp minor)

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33 Legato StaccatofAA

39 Triplets 1 & 3A I 3 I I 3 I I 3

Dotted Eighth Sixteenth

41 Double Tonguing (“ta-ka” or “da-ga”)

43

Triple Tonguing (“ta-ka-ta” or ‘da-ga-da” OR ta-ta-ka or ‘da-da-ga”)4.

4

F 3 I r 3 I I 3 —i I 3 I

47

48 [Add a note (etc. up & down scale)

-- -

Articulation29 I Lato ( dec ) Staccato dit ) Accents ( dab ) Marca ( daht )

_________ _______

- L- tj

etc. Eight and 2 Sixtcenths

36 2 Sixteenths and an eighth

37 Sixteenth Eighth Sixteenth Triplets

4

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AppHcatofl exercises trom MOUIIK auver UU/) re orilileLe

Saxophonist Glenmoore PA. Northeastern Music Pubisners)tpoken Exercises

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15 Notes - All Tongued

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BAND INFO — “NEED TO KNOW”

Strategies for SMART practice:

1. Play rhythms on one pitch first if difficult

2. Look for patterns

3. 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 level

3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the

written dynamic level

4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below

the written dynamic level

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C major scale (half steps are between scale degrees

3 - 4 and 7 - 8).

C natural minor scale (lower the 3rd, 6th, and

7th scale degrees a half step).

Intervals, W 11 Tv w 1! W

ii/\rn/\C DE1’F GA1’ B1’C

Scale Degrees 1 2 3 4 5 (, 7 8

Augmented 5th

.) .

;LcScale and Chord Related Theory

scale is a series of single notes which ascend or descend in a stepwise !nanfl within the range of an octave.

lecause scales are arranged in a stepwise manner, the note names will always be in 41 habetical order.

he notes within scales have a specific whole step/half step

ntervalic jtifn,hi with each other.

Intervals: W W H w W w H

U II II

CDEFGABCScale Degrees: I 2 3 4

/‘5 6 7 8

Tonic Dominant Leading Tone

C harmonic minor scale (lower the 3rd and

6th scale degrees a half step).

w H w w H w * ii HC’

_

C DE1’F GA1’ BCScale Degrees 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).

Intervals, W ‘1 W W TV W H w w 11 W W ‘1 v

IIf\-1r--/\rn/\rn7\iiC D E1’ F G A B C B1’ A1’ G F E1’ D C

Scale Decrees, 1 2 3 4 5 6 7 8 7 6 S 4 3 2 1

Augmented & Diminished

Intervals from C

Augmented 4th(tritone)

A

Intervals of the C major scale:

Major 2nd Major 3rd Perfect 4th Perfect 5th

.3 -4’

Diminished 5th(tritone)

Major 6th Major 7th Perfect Octave

--

e) •

Minor Intervals from C

minor 2nd

minor 3rd

_____

minor 6th

minor 7th

C major triad (three note chord) in root position and inversions.

Root Position First Inversion Second Inversion

Essential Vocabulary:

From Bottom: From Bottom: From Bottom:

root-third-fifth third-fifth-root fifth-root-third

Basic chord types constructed from C:

Major Minorlower third

l)itninishedlower third & filth

Interval - the distance between two notes

Half Step - the closest interval between two notes

Whole Step - an interval of two half steps Augmented Sus 4

raise fifth fourth replaces third

Third - the distance of two adjacent lines or two adjacent spaces“ EEHzzHj

Scale Degree - a note’s classification according to its position in the scaleE -

Tonic - 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

W3 2 FL