let's play clarinet - andrew scott...
TRANSCRIPT
Let’s Play
Clarinet
by
Andrew Scott
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ContentsContentsContentsContentsContentsParts of the Clarinet .................... 3
Lesson 1Assembling the Clarinet ................................ 4 - 6Making a Sound on the Mouthpiece ................ 4The Note E ........................................................ 7Tonguing ........................................................... 6
Lesson 2The Staff, Treble Clef ........................................ 9The Half Note (Minim) .................................... 9Bar Lines, Half Rests ....................................... 10The Quarter Note (Crotchet) .......................... 11The Time Signature ......................................... 10Quarter Rest, Final Bar Line ........................... 12
Lesson 3How to Tune the Clarinet ................................ 13
Lesson 4The Note D....................................................... 15Repeat Sign, Bar Numbers .............................. 16Two Note Samba ............................................. 17Basic Blues (duet) .......................................17
Lesson 5The Note F ....................................................... 18The Dotted Half Note ...................................... 19
Lesson 6The Note C ....................................................... 20Satellite Song ..............................................214 Note Blues .................................................... 22The Common Time Signature ......................... 22All too Common .............................................. 22
Lesson 7The Note G ....................................................... 23Love Me Tender ........................................... 24The Slur ........................................................... 25Ode to Joy .................................................... 25Batucada Blues ................................................ 26
Lesson 8The Lead-In ..................................................... 27The Banks of the Ohio ..................................... 27When the Saints Go Marchin’ In .................. 28The Whole Note ............................................... 29Good Evening Friends ..................................... 29Rhythm Review ............................................... 29Count Me In..................................................... 29
Lesson 9The Note B ....................................................... 30Six Note Bossa ................................................. 30The Three Four Time Signature ...................... 31Three in a Row................................................. 31Three to the Bar ............................................... 31The Tie ............................................................. 32Tied Up ............................................................ 32Barcarolle ........................................................ 32
Lesson 9 (continued)Tied Down.................................................... 33
Lesson 10Breathing and Blowing .................................... 34Mary Ann .....................................................36
Lesson 11The Eighth Note (Quaver) ............................... 37Shave and a Haircut ........................................ 37Mick’s Mexican Mix ........................................ 38The Galway Piper ............................................ 39Eight Enough ................................................... 39
Lesson 12The Note A .......................................................40The Volga Boatman ......................................... 41Blues in A .....................................................41
Lesson 13The Note Low G ............................................... 42We Wish You a Merry Christmas ................... 43Sweet Blues ...................................................... 43A Bicycle Built for Two .................................... 44Happy Birthday ............................................... 44
Lesson 14The Dotted Quarter Note (Dotted Crotchet) .. 44Cornpicking ..................................................... 46Dreamy Waltz .................................................. 46Dotted Ballad ................................................... 46Ode to Joy .................................................... 47
Lesson 15The Note A (in the 2nd space) ........................ 48When Johnny Comes Marching Home .......... 49Auld Lang Syne................................................ 50Blues with A ..................................................... 50Bolivian Rhapsody .......................................... 51For He’s a Jolly Good Fellow .......................... 51O Susanna.................................................... 52
Lesson 16The Note Low F ............................................... 53Arpeggio Pattern ............................................. 54Morning Has Broken....................................... 54
Lesson 17The Note Bb ..................................................... 55F Major Scale ................................................... 55Staccato ........................................................... 56The Can-Can ................................................56
Tips............................................. 58
Musician Jokes ........................... 59
Glossary ..................................... 60
Fingering Index ........................ 61-63
Transposing Table ..................... 64
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upper joint
lower joint
PPPPParararararts of the Clarinetts of the Clarinetts of the Clarinetts of the Clarinetts of the Clarinet
cork
barrel
mouthpiecereed
ligature
bell
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LLLLLesson 1esson 1esson 1esson 1esson 1PPPPPrrrrreparing the Reedeparing the Reedeparing the Reedeparing the Reedeparing the Reed
The reed must be damp for it to vibrate properly. Some players soak their reedsin a glass of water for a few minutes before playing, but you can usually get awaywith holding the thin end in your mouth for about thirty seconds.
FFFFFitting the Mouthpieceitting the Mouthpieceitting the Mouthpieceitting the Mouthpieceitting the MouthpieceApply some cork grease to the cork at the top of themouthpiece. Push the mouthpiece all the way into thebarrel with a twisting action.
The mouthpiece should slide smoothly but veryfirmly over the cork. You may not need to applygrease every time you assemble the clarinet.
FFFFFitting the Reeditting the Reeditting the Reeditting the Reeditting the ReedAfter you have dampened the reed, place it on themouthpiece. Secure it loosely with the ligature, thenadjust it so that there is only a hairline of mouthpieceshowing behind the tip. Tighten the ligature screws.
Making a Sound with the Reed on the MouthpieceMaking a Sound with the Reed on the MouthpieceMaking a Sound with the Reed on the MouthpieceMaking a Sound with the Reed on the MouthpieceMaking a Sound with the Reed on the MouthpieceHold the barrel with one hand.
Make an O shape with your lips. Put the end ofthe mouthpiece into your mouth so that yourbottom lip becomes a cushion to support the reed.
Your top teeth should touch the mouthpiece about eightmillimetres (three eighths of an inch) from the end.
Blow gently and smoothly. The mouthpiece shouldmake a buzzing noise.
Buzzing SoundsBuzzing SoundsBuzzing SoundsBuzzing SoundsBuzzing SoundsWhen you can make a sound, vary it by tighteningand loosening your lips. You can hear this onTrack 2 of the CD.
Buzzing Sounds Track 2
This track contains the sound of the reed and mouthpiece attached to the barrel.The pitch is bent down and up as the player loosens and tightens her lips.
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Attaching the Bell to the Lower JointAttaching the Bell to the Lower JointAttaching the Bell to the Lower JointAttaching the Bell to the Lower JointAttaching the Bell to the Lower JointPlace the mouthpiece and barrel aside.
Attach the bell to the end of the lower joint that has the cork, againwith a twisting motion. Try not to squeeze very hard on any keys or rods,because too much pressure can bend them.
Ataching the Middle JointAtaching the Middle JointAtaching the Middle JointAtaching the Middle JointAtaching the Middle JointAfter attaching the upper and middle joints. twist the upper joint gentlyso that the finger holes on the front of the clarinet make a straight line.Be careful to prevent any levers from becoming tangled.
Connecting the BarConnecting the BarConnecting the BarConnecting the BarConnecting the Barrrrrrel and Middle Jointel and Middle Jointel and Middle Jointel and Middle Jointel and Middle Joint
Apply grease to the remaining cork on the the upper joint. Twist itinto the barrel. Line up the single hole at the back of the clarinet withthe reed side of the mouthpiece.
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TTTTTonguingonguingonguingonguingonguingUse your tongue to start and stop thenotes. As you play the note E, whisper theword doo, several times.
The tip of your tongue will push the endof the reed against the mouthpiece,blocking the flow of air. When you releaseyour tongue, the air flow will start instantly,creating the syllable doo.
This technique is called tonguing. Clarinetplayers use it all the time to make notesstart and stop cleanly.
Listen to Track 3 on the CD.
Tongued Notes Track 3
First you will hear four E notes playedwithout tonguing. Then follow four noteswith tonguing. You can hear the difference.Without tonguing, the attack on the notesounds more like a foo than a doo.
ThumbThumbThumbThumbThumbSupporSupporSupporSupporSupport att att att att atthe Backthe Backthe Backthe Backthe Back
Right Thumbhere all the time.
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LLLLLeft Handeft Handeft Handeft Handeft Hand
AboveAboveAboveAboveAbove
thethethethethe
Right HandRight HandRight HandRight HandRight Hand
11111 3333322222
44444
TTTTT
F F F F Fingering Diagram for the Note Eingering Diagram for the Note Eingering Diagram for the Note Eingering Diagram for the Note Eingering Diagram for the Note E
11st F1st F1st F1st F1st Fingeringeringeringeringer
ofofofofofLLLLLeft Handeft Handeft Handeft Handeft Hand
TTLeft ThumbLeft ThumbLeft ThumbLeft ThumbLeft Thumb
BackBackBackBackBackofofofofof
ClarinetClarinetClarinetClarinetClarinet
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Holding the ClarinetHolding the ClarinetHolding the ClarinetHolding the ClarinetHolding the ClarinetWhenever you pick up the clarinet, makesure you hold it with both hands. Onehand should grip it across the join betweenthe upper joint and the barrel. The otherhand should lift the clarinet under the bell.This technique reduces the risk of theclarinet falling to pieces if the joints do notfit together snugly.
TipsTipsTipsTipsTips
• Fingers which are not pressing a key closed should hover above their home keys,ready to close the key when necessary.
Cleaning the ClarinetCleaning the ClarinetCleaning the ClarinetCleaning the ClarinetCleaning the ClarinetClean your clarinet after every practicesession. Use the weight, cord and cloththat came with your clarinet.
CarCarCarCarCare for Ye for Ye for Ye for Ye for Your Reedsour Reedsour Reedsour Reedsour ReedsReeds are fragile and delicate. It doesn’ttake much to split one, making it useless.
They are also expensive.
As you play more, you will learn that somereeds are much better than others.
Be very careful when you handle yourreeds not to touch the thin tip.
Keep your reeds safe in flat holder whenyou are not playing your clarinet.
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LLLLLesson 2esson 2esson 2esson 2esson 2The Staff (or Stave)The Staff (or Stave)The Staff (or Stave)The Staff (or Stave)The Staff (or Stave)
A staff (plural: staves) is a set of five lines and four spaces upon which music can be written.The lines and spaces are numbered from the bottom.
The TThe TThe TThe TThe Trrrrreble Clefeble Clefeble Clefeble Clefeble ClefThe symbol at the left end of the staff is called a treble clef. Every line of clarinet musichas these clefs to show you how notes are named. There are other clefs, such as bassand alto clefs, but for clarinet playing you only need to know this one.
4th space3rd space2nd space1st space
The Half NoteThe Half NoteThe Half NoteThe Half NoteThe Half Note
(or Minim)(or Minim)(or Minim)(or Minim)(or Minim)
The half note (or minim in some countries)symbol looks like a hollowed out egg, witha stick on one side. A half note has avalue of two beats.
The note above, written on the first line ofthe staff, is the E note you learned in theprevious lesson.
The Half Note EThe Half Note EThe Half Note EThe Half Note EThe Half Note EThe position of a note in the staff tells us itsname.
1st line
5th line4th line3rd line2nd line1st line
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G for Me G for Me G for Me G for Me G for Me 22222Tongue each note.
LLLLLesson 2esson 2esson 2esson 2esson 2The Note GThe Note GThe Note GThe Note GThe Note G
George the Giraffe George the Giraffe George the Giraffe George the Giraffe George the Giraffe 11111Tongue each note.
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Dark Blue TDark Blue TDark Blue TDark Blue TDark Blue Tongue ongue ongue ongue ongue
TTTTTwo Beat Gwo Beat Gwo Beat Gwo Beat Gwo Beat G
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LLLLLesson 3esson 3esson 3esson 3esson 3The Note AThe Note AThe Note AThe Note AThe Note A
Ann the Ant Ann the Ant Ann the Ant Ann the Ant Ann the Ant 2 2 2 2 2
Ask an Ant Ask an Ant Ask an Ant Ask an Ant Ask an Ant 2 2 2 2 2
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CrCrCrCrCreepy Crawl eepy Crawl eepy Crawl eepy Crawl eepy Crawl 2 2 2 2 2
TTTTTip of My Tip of My Tip of My Tip of My Tip of My Tongue ongue ongue ongue ongue 2 2 2 2 2
TTTTTots in Tots in Tots in Tots in Tots in Tutusutusutusutusutus 2 2 2 2 2
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T
LLLLLesson 4esson 4esson 4esson 4esson 4The Note FThe Note FThe Note FThe Note FThe Note F
TTTTTwo Beat F wo Beat F wo Beat F wo Beat F wo Beat F 2 2 2 2 2
George and FGeorge and FGeorge and FGeorge and FGeorge and Frrrrrededededed 2 2 2 2 2
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Ann and GeorgeAnn and GeorgeAnn and GeorgeAnn and GeorgeAnn and George 2 2 2 2 2
TTTTTwo Note Rockwo Note Rockwo Note Rockwo Note Rockwo Note Rock 2 2 2 2 2
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Hot Cross BunsHot Cross BunsHot Cross BunsHot Cross BunsHot Cross Buns
YYYYYankee Doodleankee Doodleankee Doodleankee Doodleankee Doodle
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eMerMerMerMerMerrilyrilyrilyrilyrily
In the Light of the MoonIn the Light of the MoonIn the Light of the MoonIn the Light of the MoonIn the Light of the Moon
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1
Ellen the Elephant Ellen the Elephant Ellen the Elephant Ellen the Elephant Ellen the Elephant
George and Ellen George and Ellen George and Ellen George and Ellen George and Ellen
LLLLLesson 5esson 5esson 5esson 5esson 5The Note EThe Note EThe Note EThe Note EThe Note E
T
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Ellen and FEllen and FEllen and FEllen and FEllen and Frrrrred Stomp ed Stomp ed Stomp ed Stomp ed Stomp
WWWWWalk and Talk and Talk and Talk and Talk and Talk alk alk alk alk
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LLLLLesson 5esson 5esson 5esson 5esson 5The Note DThe Note DThe Note DThe Note DThe Note D
1
2
Run, Dan, Run Run, Dan, Run Run, Dan, Run Run, Dan, Run Run, Dan, Run
Dan the Dog Dan the Dog Dan the Dog Dan the Dog Dan the Dog
T
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Dan Likes a PDan Likes a PDan Likes a PDan Likes a PDan Likes a Pat at at at at
FED Song FED Song FED Song FED Song FED Song
FFFFFour Note Song our Note Song our Note Song our Note Song our Note Song
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LLLLLesson 6esson 6esson 6esson 6esson 6The Note CThe Note CThe Note CThe Note CThe Note C
Coco the Cat Coco the Cat Coco the Cat Coco the Cat Coco the Cat
Coco Sat on a Mat Coco Sat on a Mat Coco Sat on a Mat Coco Sat on a Mat Coco Sat on a Mat
T
T
1
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eTTTTTwinkle, Twinkle, Twinkle, Twinkle, Twinkle, Twinkle Little Star winkle Little Star winkle Little Star winkle Little Star winkle Little Star
Hot Cross Buns - Key of C - Hot Cross Buns - Key of C - Hot Cross Buns - Key of C - Hot Cross Buns - Key of C - Hot Cross Buns - Key of C -
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eMarMarMarMarMary Had a Little Ly Had a Little Ly Had a Little Ly Had a Little Ly Had a Little Lamb amb amb amb amb
Shave and a HairShave and a HairShave and a HairShave and a HairShave and a Haircut cut cut cut cut
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LLLLLesson 7esson 7esson 7esson 7esson 7Ode to Joy Ode to Joy Ode to Joy Ode to Joy Ode to Joy
Lightly Row Lightly Row Lightly Row Lightly Row Lightly Row
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When the Saints Go MarWhen the Saints Go MarWhen the Saints Go MarWhen the Saints Go MarWhen the Saints Go Marchinchinchinchinchin’ In ’ In ’ In ’ In ’ In
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Oats, POats, POats, POats, POats, Peas, Beans eas, Beans eas, Beans eas, Beans eas, Beans
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LLLLLesson 8esson 8esson 8esson 8esson 8The Note BThe Note BThe Note BThe Note BThe Note B
1
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T
2
Ben the Bee Ben the Bee Ben the Bee Ben the Bee Ben the Bee
Fly About Ben Fly About Ben Fly About Ben Fly About Ben Fly About Ben
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MarMarMarMarMary Ann y Ann y Ann y Ann y Ann
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Old Macdonald Had a FOld Macdonald Had a FOld Macdonald Had a FOld Macdonald Had a FOld Macdonald Had a Farararararm m m m m
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1
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T
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Alan the Antelope Alan the Antelope Alan the Antelope Alan the Antelope Alan the Antelope
C & A ExerC & A ExerC & A ExerC & A ExerC & A Exercise cise cise cise cise
LLLLLesson 9esson 9esson 9esson 9esson 9The Note Low AThe Note Low AThe Note Low AThe Note Low AThe Note Low A
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ABC Song ABC Song ABC Song ABC Song ABC Song
The VThe VThe VThe VThe Volga Boatmen olga Boatmen olga Boatmen olga Boatmen olga Boatmen
2
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The Animals WThe Animals WThe Animals WThe Animals WThe Animals Went in Tent in Tent in Tent in Tent in Two by Two by Two by Two by Two by Two wo wo wo wo
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LLLLLesson 10esson 10esson 10esson 10esson 10The Note Low GThe Note Low GThe Note Low GThe Note Low GThe Note Low G
1
32
T
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1 Georgia the Gorilla Georgia the Gorilla Georgia the Gorilla Georgia the Gorilla Georgia the Gorilla
Hot Cross Buns -Hot Cross Buns -Hot Cross Buns -Hot Cross Buns -Hot Cross Buns - Key of G Key of G Key of G Key of G Key of G
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TTTTTwinkle Twinkle Twinkle Twinkle Twinkle Twinkle Little Star winkle Little Star winkle Little Star winkle Little Star winkle Little Star - Key of G - Key of G - Key of G - Key of G - Key of G
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LLLLLesson 11esson 11esson 11esson 11esson 11WWWWWe We We We We Wish Yish Yish Yish Yish You a Merou a Merou a Merou a Merou a Merrrrrry Christmas y Christmas y Christmas y Christmas y Christmas
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eHappy BirHappy BirHappy BirHappy BirHappy Birthdaythdaythdaythdaythday
Dotted Eighth Note(or Dotted Quaver)
Sixteenth Note(or Semiquaver)
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The SlurThe SlurThe SlurThe SlurThe SlurA slur is a curved line written over or below several notes. When a slur is applied to notesit means that you play them smoothly. To do this, keep blowing as you change thefingering for the different notes. Only tongue the first note of the group enclosed by theslur.
Another word for playing smoothly, often used in music, is legato.
Slur Exercise 2 Track 32
Slur Exercise 1 Track 31
Slur
Ode to Joy Track 33 Ludwig vanBeethovenClassical StyleLudwig van Beethoven lived in Europe from 1770 to 1827. This piece is an an excerptfrom his 9th Symphony.
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LLLLLesson 13esson 13esson 13esson 13esson 13The Note Low GThe Note Low GThe Note Low GThe Note Low GThe Note Low G
This G is written beneath thesecond ledger line below thestaff.
Low G Exercise Track 63
Bossa Nova Style
Low G Exercise 2 Track 64
Swing Jazz Style
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We Wish You a Merry Christmas Track 65
Waltz Style
Sweet Blues Track 66
Jugband Style
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A Bicycle Built for Two Track 67
Waltz Style
Happy Birthday Track 68
Gospel Style
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LLLLLesson 14esson 14esson 14esson 14esson 14The Dotted QuarThe Dotted QuarThe Dotted QuarThe Dotted QuarThe Dotted Quarter Noteter Noteter Noteter Noteter Note
(or Dotted Crotchet)(or Dotted Crotchet)(or Dotted Crotchet)(or Dotted Crotchet)(or Dotted Crotchet)
Adding a dot after a quarter note increases its length to one and half beats.
quarter note(or crotchet)
1 beat
half note(or minim)
2 beats
dotted half note(or dotted minim)
3 beats
dotted quarter note(or dotted crotchet)
1½ beats
Dotted Quarter Note Exercise 1 Track 69
Dotted Quarter Note Exercise 2 Track 70
Dotted Quarter Note Exercise 3 Track 71
2 2 3 4 2 2 3 4
4 rest 4 rest
2 4 2 2 4
Dotted Quarter Note Exercise 4 Track 72
2 3 2 3
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Cornpicking Track 73
Chet Atkins Style
Dreamy Waltz Track 74
Moon River Style
Dotted Ballad Track 75
Serena Style
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Ode to Joy Track 76
Gospel Style
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LLLLLesson 15esson 15esson 15esson 15esson 15The Note A The Note A The Note A The Note A The Note A (in the Second Space)(in the Second Space)(in the Second Space)(in the Second Space)(in the Second Space)
This A is written in thesecond space of the staff.
2nd Space A Exercise 1 Track 77
2nd Space A Exercise 2 Track 78
Jam Session Style
2nd Space A Exercise 3 Track 79
Bluegrass Style
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When Johnny Comes Marching Home Track 80
March StyleOn the CD there are five beats to introduce this song.
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Auld Lang Syne Track 81
Fingerpicking Folk StyleOn the CD there are three beats to introduce this song.
Blues with A Track 81
Traditional Jazz StyleThis song gives you good practice at taking breaths quickly between notes.
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Old Style Waltz
Above bar 24 is the instruction D. C. al Fine (pronounced “fee-nay”). This is anabbreviation of Da Capo al Fine, which means that you play the song again from the startuntil you reach the word Fine (bar 16).
Five beats introduction.
Blolivian Rhapsody Track 81
Perro Style
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O Susanna Track 82
Fingerpicking Folk StyleOn the CD there are three beats to introduce this song.
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LLLLLesson 16esson 16esson 16esson 16esson 16The Note Low FThe Note Low FThe Note Low FThe Note Low FThe Note Low F
There are two fingerings for this note. Choose the one that is more comfortable for you.
This F is written on the thirdledger line below the staff.
Low F Exercise 1 Track 82
Teddy Wilson Style
Low F Exercise 2 Track 83
Folk Style
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Folk Waltz Style
Arpeggio Pattern Track 84
J. S. Bach Style
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LLLLLesson 17esson 17esson 17esson 17esson 17The Note B Flat (The Note B Flat (The Note B Flat (The Note B Flat (The Note B Flat (BBBBB b)))))
This note is lower than B, but not as lowas A. Its pitch is halfway between B and A.
The sign bbbbb in music notation is pronounced“flat.”
The flat sign is written after the note in text,
(e.g. B b ) but before it on the staff.
B b Exercise 1 Track 86
Classy Swing StyleThe flat signs in bars 1 and 4 apply to all the B’s in those bars.
F Major Scale Track 87
Son-Montuno StyleWhen the flat sign is written on the middle line at the beginning of the staff, it applies toall the B notes in that staff, including B’s below the staff.
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Orchestral StyleJacques Offenbach (1819-1880) began his musical career as a cello player. This is partof his most famous composition.
Remember to play all B notes as Bb .
StaccatoStaccatoStaccatoStaccatoStaccatoYou have seen that a dot written after a note lengthens thenote (pages 19 and 45).
A dot written above or below a note means that you playthe note short and detached from other notes. This methodof playing is called staccato. It is the complete opposite ofplaying legato, or smoothly.
To play notes staccato, think of the letter “d” when you tongue the note, instead of thesyllable “doo.”
Staccato Exercise 1 Track 88
Orchestral Style
Staccato Exercise 2 Track 89
Bossa Nova Style
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The Can- Can (continued)
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TTTTTipsipsipsipsipsGeneralGeneralGeneralGeneralGeneral
It is normal to feel dizzy from all the blowing.
You may also get pains in your arms, neck and shoulders. The clarinet may seemunbearably heavy, especially on your right thumb.
Most of these problems go away as you build up new strength in muscles which werehitherto hardly used.
Cleaning the ClarinetCleaning the ClarinetCleaning the ClarinetCleaning the ClarinetCleaning the ClarinetClean and dry your clarinet by pulling a cloth through it after each practice session. Payparticular attention to the mouthpiece and reed. You will need to take the reed off to cleanthe mouthpiece properly. Failure to do this will result in a buildup of stale, green mould.Do you really want that in your mouth next time you play?
If your mouthpiece has already reached the disgusting stage, merely soaking it in a basinof warm soapy water will not work. Scrub it clean with an old toothbrush.
ReedsReedsReedsReedsReedsIf your reeds become wrinkled after you moisten them in hot weather, you can iron themflat with your thumb. Press the thin end against the flat part of your mouthpiece for abouthalf a minute, or until the reed regains its normal shape.
Reed StrReed StrReed StrReed StrReed Strengthengthengthengthength
The best reed to start playing the clarinet with is one that has a strength rating of 1 or1½. The lower the rating on the reed, the softer and more flexible it is, and the easier itis to blow. Reeds with a higher number beome progressively stiffer and harder to blow butproduce a bigger volume of sound. Allow yourself plenty of time to build up your mouthmuscles before you consider changing to a reed with a higher rating.
Reed QualityReed QualityReed QualityReed QualityReed Quality
There is enormous variation in the quality of reeds. When you begin playing clarinet, youwill not be able to tell the difference between one reed and another. As you become moreexperienced, you will begin to notice differences in the quality of sound that reeds produce,and also how some reeds are easier to blow than others. The worst reeds are very difficultto blow, produce a sound that is rough and feel downright stubborn to play. The bestreeds are easy to blow, produce a sweet sound and feel as though they enjoy being played.
Choosing a Good ReedChoosing a Good ReedChoosing a Good ReedChoosing a Good ReedChoosing a Good Reed
Unfortunately, it is almost impossible to tell by looking how a reed is going to perform.As a general rule, favor reeds that have a greenish tinge, which means they have beencut from cane that is young and flexible.
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LLLLLessonessonessonessonessonHow to THow to THow to THow to THow to Tune the Clarinetune the Clarinetune the Clarinetune the Clarinetune the Clarinet
Tuning Track 1
Step 2Start Track 1 again. Play your E, then listen to the clarinet on the CD.
Step 3Was your E at exactly the same pitch, or was it higher or lower?
Step 4If your note sounds the same as the CD note, your clarinet is already in tune. Go to Step7.
You will need to be able tune the clarinet to make it sound at its best when you play withother instruments or recordings.
You can do this by playing a note and then comparing it to a reference tone.
Step 1Listen to Track 1 on the CD, following the music on the chart below.
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Step 5If your note sounds lower than the CD, your saxophone is said to be flat. Raise its pitchby pushing the mouthpiece further onto the cork, then repeat Steps 2 and 3.
Step 6 If your note sounds higher than the CD, your saxophone is said to be sharp. Lower itspitch by pulling the mouthpiece out along the cork, then repeat Steps 2 and 3.
Step 7As a final check, play your A at the same time as the saxophone on the CD. If the twonotes are in tune they will sound like one instrument. If not, there will be a harsh, irritatingbeating sound, somewhat like two blowflies sparring. Return to Steps 2 and 3.
TTTTTuning Tuning Tuning Tuning Tuning Tipsipsipsipsips
1. Don’t be too concerned if you can’t tell whether you are sharp or flat. It can takea long time before you hear the difference.
2. Hot weather makes the saxophone sharp. Cold weather will make it flat. Youwill need to adjust your mouthpiece more on very hot or cold days.
Pushing the mouthpiece on raises the pitch.
Pulling the mouthpiece offlowers the pitch.
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Fingering
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GlossarGlossarGlossarGlossarGlossaryyyyyaccidental - accidental - accidental - accidental - accidental - a sign indicating a note from outside a particular key. E.g., the natural signin bar 4 of Cuban Nights on page 46, or the flat sign in bar 1 of Staccato Blues on page42.
arpeggio - arpeggio - arpeggio - arpeggio - arpeggio - the notes of a chord played one at a time.
chord -chord -chord -chord -chord - a group of two or more different notes played together.
dissonant - dissonant - dissonant - dissonant - dissonant - clashing, not harmonious.
D. S. al Coda - D. S. al Coda - D. S. al Coda - D. S. al Coda - D. S. al Coda - go back to the sign , play again as far as the Coda sign fi,
then jump to the second Coda sign, and play to the end.
embouchurembouchurembouchurembouchurembouchure e e e e - the position of the lips and mouth when playing a brass or windinstrument.
key -key -key -key -key - a pitch that forms the tonal centre of a piece of music.
harharharharharmonize -monize -monize -monize -monize - to combine notes to produce a pleasant sounding blend.
lick -lick -lick -lick -lick - a short musical phrase.
measurmeasurmeasurmeasurmeasure -e -e -e -e - same as bar.
octave -octave -octave -octave -octave - the interval between two notes where thefrequency of one is either half or double that ofthe other. E.g., the two A notes on the staff atright are one octave apart. Notes that are oneoctave apart usually have the same letter name.
phrase -phrase -phrase -phrase -phrase - a group of notes that form the musical equivalent of a sentence.
vibrato - vibrato - vibrato - vibrato - vibrato - a throbbing in the sound of a note. On the saxophone this is achieved bytightening and loosening the pressure on the reed from the jaw.
rrrrregister -egister -egister -egister -egister - a range of notes on a particular instrument.
riff - riff - riff - riff - riff - a short musical phrase, usually repeated or varied several times within a song.
sustain - sustain - sustain - sustain - sustain - to hold a note or chord for its full value.
syncopation -syncopation -syncopation -syncopation -syncopation - emphasis given to a normally unaccented beat.
transpose -transpose -transpose -transpose -transpose - to change music from one pitch or key to another.
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TTTTTransposing Transposing Transposing Transposing Transposing TableableableableableThe table below shows you which note you must play to sound the same as anotherinstrument, such as a guitar or piano, or another clarinet.
For example, if you are playing an A on the clarinet, the guitar’s note will be G, and thealto saxophone’s note will be E.
If the flute player blows an A, the clarinet must play B.
AltoSaxophone
ConcertInstrumentsE.g. Guitar, flutepiano, keyboard
ClarinetAlso Tenor Sax,
Trumpet
D# or Eb
A
A # or B bC
D
C# or Db
F# or G bG # or Ab
B
E
F
G
D# or Eb
A
A # or B b
C
D
C # or D b
F # or GbG # or A b
B
E
F
GA
A # or B bC
C # or DbB
D# or EbD
F # or GbG # or Ab
E
F
G