 The Clarinet BBoard
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Author: Kride
Date: 2010-08-28 16:07
I have a mus ed degree and 30 years on sax. I got seriously back into clarinet 2 years ago and have been taking lessons from a pro for that time. I am just wondering what books I should make sure I've gone through so I can teach up to a high school level. I have the big Klose, the Rose 32 and 40 etudes, the Dementz, Rubank Advanced 1 and 2, Selected Duets 1 and 2. So, any tips appreciated. Clarinet went from something I was going to learn to teach a student of mine who wanted to double to me playing it for 90 minutes a day before I pick up a sax. I also have a couple of the Jean Jean books but they are too tough for me or any student I can envision. What I have been doing mainly for the last few months is 1. Long tones with met and tuner from low E up to High G. 2. Ringing C with Ha attacks to get fullest tone. 3. 2 octave majors with met 4. Returning chromatics patterns for fingers 5. One scale a week in the Baerman. 6. Working on the Weber Concertino and Mozart Concerto. I think the biggest thing I lack from just playing for a couple of years is all the diversity of material that you take for granted as you play in band from 4th grade through high school. I am playing in the Napa Community College Band so I'm doing as much band playing as I can. Any ideas appreciated. I just want to do as good a job as I can for the kids. K (PS I have quite a few duet books I didn't detail. A friend and I are going to do Classical Duets "out" in pubic. So I think I have that covered. )
Ksaxman.com
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Author: William
Date: 2010-08-29 15:57
For someone who doesn't really know "what they are doing", a good book would be the Rubank #2. It has a weekly lesson curriculum to follow that includes all the essential elements the average high school student will ever need to know. After that, the Klose book would be good, especially for its scale & arpeggio sections and it's Rose Etudes. My high school private teacher used to have me write out two octave scales in triplets every week and make me stay on them until I could play them perfectly. Each would include the major scale, and then it's three minor versions--natural, melodic and harmonic--all done by my hand on manuscript paper (no fancy computors back then--lol). Other private teachers may have many much better ideas, stay tunned........
BTW, I would forget the "ha" ennuciation practice and rather teach proper tongue action and breath support from the "get-go". And I hate the metronome for beginners. It just gets too much in the way of mistake correction & subsequent learning.
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Author: Connor
Date: 2010-08-29 17:33
I think you have a good handle on the books to teach from. I would advocate having students learn simple melodies by ear (happy birthday, three blind mice, ect. on a different note every week). I personally think that the baerman book is more collegiate level and even then, a player is better served playing scales, scales in thirds and patters by memory (always full range of the horn, low E to altissimo G), therefore have students learn scales by ear.
Establishing the correct "bite" and tongue position is perhaps the most difficult issue to address with young players. To establish a good tongue position, finger clarion Ab (the one above the staff) T 12X|12X. This will sound a stuffy Ab once the tongue is high enough in the oral cavity. Encourage students to try the double lip embouchure, it will likely be difficult and painful due to excessive biting or a reed that is too resistant. There is nothing wrong with soft reeds!
Articulation is always the most difficult thing to learn. From the Rose 40 studies, use etude #6 with the metronome (!) at eight note = 72 and practice the stopped tongue technique. Wile maintaining constant air pressure behind the reed, stop each note with the tongue and keep the tongue on the reed with the lightest amount of pressure possible through the thirty second value rests (just enough to stop the vibration of the reed.). This exercise also exposes embouchure instability and requires good breath support to be done successfully.
Instead, or in addition to the Mozart Clarinet Concerto, try the Willson Osborne clarinet Rhapsody.
http://www.sheetmusicplus.com/title/Rhapsody-For-Clarinet/997445
Hope this helps!
Connor O'Meara
University of Texas Masters Student
MM. Clarinet Performance University of Texas at Austin (2012).
BM. Clarinet Performance University of Northern Colorado (2010).
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Author: NBeaty
Date: 2010-08-29 19:08
To emphasize Connor's point:
"The Clarinet Doctor" by Howard Klug is an excellent book for learning technique. The idea of technique being memorized and not something you read off the page is very important. All of the exercises are written out enough to show what they are in one key, but you have to figure it out for all other keys.
Technique in this way makes the player very sensitive and aware of each scale, interval, or articulation style, and can be applicable to most any ability level with adjustment of tempo.
It is important when teaching technique, or working on your own, that it not be a "cross off each exercise as you go and never go back" as is the case many times with going through etude books. Learning this way makes sure that when you ask a student to play a Gb major scale full range you don't get an answer like this, "but that was the assignment 2 weeks ago, I thought I didn't have to play it this week".
-Nathan Beaty
(posting of my degrees inspired by Connor)
University of North Texas DMA student in Performance
McGill University- Masters degree in Orchestral Performance
Texas Tech University- Bachelors of Music in Performance
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Author: Ed Palanker
Date: 2010-08-29 21:35
I've always liked the Baermann book #2, it now comes as 1 and 2 together but #1 is only writing, the music begins in #2. Has some interesting finger studies and etudes. I also always preferred the Lazarus BK 2 because it has the Albert scales and chord ex. which should be used before the Baermann scale book #3 unless the student is very advanced. It also has the Kroepsch bk 1, the Klose has bk 2, too advanced for the average high school student, it also has the Bellison chord studies as well as a variety of good etudes which you can select depending on the student.
Instead of jumping into a major concerto, again unless the student is up for them, you should look for a book of different solo mov't. There used to be a book called Soloes for the clarinet player by Aurther Christmann that I used to use but there are many others as well. I suggest you go to a music store in your area and see what they have. You don't have to use the same book of solos for everyone. I used to like the series called Everybodies Favorite solos # 43 and one other I can't remember for those students not ready for the BIG classics. The main thing is to keep their interest and learn phrasing and styles. Playing duets is always a great way to end a lesson, they're fun and useful. For the more advanced the Mozart duets are great. ESP http://eddiesclarinet.com
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