Klarinet Archive - Posting 000594.txt from 2004/01

From: Ed Wojtowicz <ewoj@-----.net>
Subj: Re: [kl] Best Etudes/Method for Learning Scales?
Date: Sun, 18 Jan 2004 14:30:23 -0500

> From: RichChPlay@-----.com
> Subject: Re: [kl] Best Etudes/Method for Learning Scales?
>
> what is the Ybes Didier book? I don't know this one. Can you
> describe the book's content for me?

Sorry if this post is a bit lengthy.

The book is Yves Didier- Etude des Gammes et Principaux Accords pour
Clarinette (Study of the Scales and Principal Chords for Clarinet), Editions
Henry Lemoine, Paris, Copyright 1971

This book has two facing pages devoted to each key, covering majors as well
as minor. It covers a basic scale and then scales in intervals, 2nds, 3rds,
4ths, etc. through octaves. These are followed by arpeggiated and broken
chord patterns on the tonic, dominant, leading tone. The end of the book
then has melodic minor scales, whole tone (with intervals as before), and
chromatic covering all intervals, chord studies.

>
>
>> PS: Another respected scale book is Gaston Hamelin's Gammes et
>> Exercises.
>>
> This is my absolute favorite. Slow, smooth scale practice over the entire
> range of the instrument, with exercises to promote even connections
> between notes without the danger of excess finger tension.

I also like the fact that the rhythmic organization of the Hamelin (triplets
over two octaves) means that you end up playing the scales through 3X with a
different note getting the stress each time, so that the tonic is not always
the downbeat.

>
> After a past discussion of Baermann's method on this list, I got the
> complete method from the German publisher... One of the
> interesting aspects of Book 3 is that Baermann laid out the first few
> exercises in the broken scales, returning scales, thirds and 6ths, and
> expected the student to complete all the rest of the keys from memory!
>
>
> Flutists talk all the time about playing memorized technique and
> "published" technique.....

I like the idea of doing scales and pattern in this fashion. It forces you
to have much more awareness of the instrument, much as a jazz player would,
and encourages the ability to hear patterns and know them in your ear and
fingers, rather than off the page.

One excellent book that I have found is Tony Dagradi's Essential Scale
Studies for Improvisation, published by Kendor, copyright 2000. I think it
was $18. It can be used on any instrument. Tony is fantastic New Orleans
based saxophonist, and has played with a virtual who's who in that area, as
well as Bobby McFerrin, Nat Adderly and Carla Bley. He is longtime member of
the band Astral Project. Tony is also associate professor of saxophone at
Loyola.

His book covers patterns on all intervals based on Major, Pentatonic,
Diminished and Whole Tone scales as well as triad and seventh chord
patterns. He gives you the pattern in C and you are expected to work it out
in all keys. Needless to say, I haven't gotten too far on it! For those
interested in this type of approach or jazz playing it would give you a
great workout and amazing command. It could take years!

>
> Lastly - sorry, this has gotten rather long - I have to ask - What do
> those of you who use it see in Stievenard? I find it distractingly
> confusing with all the patterns, some of which are quite challenging.
> Most students who arrive with Stievenard aren't ready for that level of
> "distraction". Enlighten me, please!
>

I think the Stievenard is a great book and has challenges that no other book
has. It would be for a more advanced player who already has good technical
grounding. A fine discussion/analysis of it is found in Mazzeo's Book: The
Clarinet-Excellence and Artistry. He has a great chapter on the use of his
favorite scale studies and how to use them. I like the fact that in his
approach, each set of scale studies has well thought out goals and
challenges, rather than just hammering through the same scales/patterns year
after year.

I was lucky enough to study with a former student of Mazzeo's and we covered
these scales. The idea is to do the Stievenard using 40 as the metronome
marking. The subdivisions, as well as the number of pulses per bar will
change with each meter/line, giving real advanced rhythmic training. Once
the basics are mastered, I recall doing each key straight through so that it
is necessary to mentally transition to the new meter and pulse in the few
beats of rest at the end of the line. Add to this the fact that there are
changes in dynamics as well as challenges in range and articulation, these
are quite tough. They are not merely scale studies. There is much mental
work here, providing a great preparation for the challenges needed to
perform, well beyond finger training. I hope this explanation is somewhat
clear. As I stated Mazzeo gives a good explanation with examples.

Ed

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