 The Clarinet BBoard
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Author: C.Elizabeth07
Date: 2013-02-15 12:19
I'm just curious about books that might be recommended for (see above) scales and patterns on scales, etc. I used to use the Klose book as part of my daily routine, I decided to change it up and began J.B. Alberts book of scales each day instead. I spend about and hour and a half on scales and scale patterns each day in my practice. I have the Stark scales and arpeggios in 24 tonalities and a few others. Any recommendations would be great! I'd like to get some ideas ready for the next time i decide to change things up a bit. Thanks!
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Author: Katrina
Date: 2013-02-15 12:40
Baermann Baermann Baermann. This is the "bible" for many of us.
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Author: kdk ★2017
Date: 2013-02-15 13:07
What do you do and for how long after the 90 minutes of scales?
Having used all the material you mention, I'm not sure why you need (or want) more printed scale (rudiment) study material. You can easily invent your own exercises based on Klose or some of the Albert patters if you just need variety. The Stark (if we're both thinking of the same book) is more a set of musical etudes than strictly scale studies - its strength is that it goes through all the keys. Why not look for more etudes that incorporate combinations of scales and arpeggios within a musical context? Maybe you already do this once your hour-and-a-half of scale purgatory is done each day.
Possibilities (though not nearly an exhaustive list) might be the last 3 "divisions" of Baermann, the Opperman Velocity Studies series, Uhl 48 Etudes or any of the Rose books. For that matter, there's plenty of scale and arpeggio exercise in the standard solo pieces - their only limitation as technical studies is that most stay within the more idiomatic keys.
(FWIW, in the category of reaction you didn't invite) if it isn't clear by now, I'm not myself fond of spending the kind of time you're spending on material that only exercises rudiments out of context. They make a good way to warm up, set the embouchure, loosen the fingers and generally get everything working. Once that's accomplished, I question whether pure rudiment studies can help you do anything that more musical contexts can't.
Karl
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Author: Ken Shaw ★2017
Date: 2013-02-15 13:36
Elizabeth/Christine -
Any book that contains scales and arpeggios through all the keys is fine. Baermann III has additional patterns (wider intervals, broken chords), and most people use it. I often begin a practice session with the 2-page exercise in Klose http://javanese.imslp.info/files/imglnks/usimg/2/2b/IMSLP34489-PMLP77801-kloses-conservatory-method-for-the-clarinet.pdf, pp. 100-101, running through all the scales in 3rds. I go quite slowly to make sure there is not even the slightest fluff.
If you're spending 1-1/2 hours a day on scales, you're not doing it right. As Kal Opperman said to me, nobody every won an audition just playing scales. Of course you must phrase scales musically, but that's far short of Mozart or Brahms.
You use scales and arpeggios to engrave the frequently recurring patterns into your muscle memory. This requires doing them dead slow, one note per click at the slowest speed on your metronome, concentrating all your attention on picturing the next note change and then doing it perfectly. Even the slightest mistake or unevenness engraves the mistake into your muscle memory -- exactly the opposite of what you want. Nobody can maintain this level of concentration for more than 10 or 15 minutes.
Give it your best time, at the beginning of each practice session. The moment your attention flags, STOP and play a simple melody. Ralph McLane used the Brahms Lullaby.
Also, remember that Baermann gives you only the material Mozart or Weber used. The only reason the Debussy Premiere Rapsodie seems more difficult than the Weber Concertino is that Debussy's arpeggios are not in Baermann. You come to them almost as a beginner. And then you go to the Bartok Contrasts, where you must learn each of the rips as if they were in Baermann.
People who studied with Leon Russianoff say he let them toss off the Nielsen Concerto at the first lesson. He would then set his metronome to 60 and say "Now play me a C major scale, one octave up and down." Nobody could do that with perfect evenness.
Change your approach, not your exercise book.
Ken Shaw
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Author: C.Elizabeth07
Date: 2013-02-15 14:37
I have to disagree, I do these scales regularly because since adopting this practice and beginning my day with scales and patterns I have noticed great improvement in my technique. It has also cut down the amount of time I require to learn rep, I spend less time worrying about the technical aspects because I can pick it up easier and can spend most of my time focusing on the music. It takes so long because I do listen for smoothness and evenness. This is not something I am going to change, I dont think there is anything wrong or incorrect with what I'm doing. I began doing this to get more comfortable with awkward key signatures, I wanted them to feel as effortless and "at home" as the others. They now do. I have always enjoyed working on scales. And I do not practice them for 90 consecutive minutes with out a break, no one can maintain a high level of awareness and focus that long to make it productive.
All I'm looking for is some suggestions that I can look into and see if it can provide me with anything new.
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Author: duxburyclarinetguy
Date: 2013-02-15 15:01
How about:
Gammes et Exercices (Scales and Exercises) for the Clarinet by Gaston Hamelin. Alphonse Leduc
I know first hand from Harold Wright that he liked these as did Ralph MacLean.
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Author: pewd
Date: 2013-02-15 15:34
Foundation Studies for Clarinet, From Baermann Book 3, Op. 63, Southern Music, B398
Kroepsch 416 Progressive Daily Studies for Clarinet, Book 1, Carl Fisher, #O312
also Book 2, 3, and 4
- Paul Dods
Dallas, Texas
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Author: Ed
Date: 2013-02-15 15:47
Practical Study of the Scales for Clarinet by Émile Stiévenard. G. Schirmer Inc.
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Author: sfalexi
Date: 2013-02-15 17:18
Buddy Defranco's "Hand and Hand with Hanon".
Lots of various patterns that you see often enough in music, with many varying articulation patterns per exercise. Really gets you comfortable playing in every key and articulation style.
Alexi
US Army Japan Band
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Author: C.Elizabeth07
Date: 2013-02-15 17:47
Thanks everyone, I'll look into these. !
KDK,
I am in the MM program at McGill. I usually practice about 6 hours a day (depending on the amount of rehearsals I have it may be a bit more or less). I'm currently preparing for a recital so I usually spend about 90 minutes on scales, about 2 hours on orchestral excerpts, 2-3 hours on recital rep and then chamber music or ensemble rep. I also like to make time to sight read daily (which I usually do with some friends/colleagues) and work on transposing on sight as well (so that when I see a part for clarinet in C I don't freak out!)
Needless to say I don't practice that long straight either. I wake up early and usually start around 8 in the morning so I can space it out over the course of the day and not burn out or lose focus and wind up wasting time.
And I don't think of scales as "purgatory" lol, I actually really enjoy the process! I just always feel like everything falls into place after that
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Author: Wes
Date: 2013-02-15 21:22
May I respectfully suggest that you look at the Perrier books of etudes and exercises. They were written earlier in the 20th century, I believe, and were recommended to me by M. Lurie.
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Author: davyd
Date: 2013-02-15 21:29
I'm supposing you're sticking to the major scales and the three types of minor scales. Why not branch out into the modes? You never know when you'll need to be able to play an F# Dorian or Bb Locrian scale.
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Author: C.Elizabeth07
Date: 2013-02-16 19:56
Thanks everyone these suggestions are great! Especially the modes, I have the Kroepsch and Artie Shaw already but haven't done more then skim through them and shelf them. Really excited about looking into all the suggestions.
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Author: JHowell
Date: 2013-02-16 21:34
Marcel Moyse, "Technical Mastery for the Virtuoso Flutist." Not about tonality, takes you mathematically through every possible combination of three notes.
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Author: C.Elizabeth07
Date: 2013-02-16 23:26
I heard of a saxophonist who did something similar. I'll look into that as well, sounds.... intense.
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Author: C.Elizabeth07
Date: 2013-02-16 23:35
I'd be interested in hearing other peoples opinions on dedicating a significant amount of time to scales and arpeggios and patterns. I know that Ken Shaw and responded and suggest that I change my approach. I'd be interested in the opinions of others. I am quite happy with what I do, and when I feel that I am not benefiting from it any longer I will change my approach (I do not like wasting time when I practice, there is too much to do and never enough time) but for me at this current point in time I'd like to hear others views.
I know some highly advocate drilling scales and technique and patterns and others who don't at all. I have some colleagues who do and others who have admitted they never work on scales, at all. I myself have lately been pondering the merits to "memorizing" all these patterns (which I have since I do them so frequently but it is not something I have done intentionally).
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Author: Ed
Date: 2013-02-17 00:33
You can also consider the GILLET- Exercices sur les Gammes, Intervalles, Staccato
and the Jettel studies.
I like Essential Scale Studies For Improvisation By Tony Dagradi
Dagradi is a great jazz sax player. He gives you patterns that you then play in every key. Studies like this are very valuable as you really develop your ears and become more connected with the instrument. I find it more valuable than reading patterns off of the page.
Technique development is key as you have found, but Ken's comments are right on as well. In my opinion, only you can decide what is the right proportion for you. Find the right balance for what you need, which may change from day to day and week to week.
Just remember that command of the instrument is important, but so is style, interpretation and musicality.
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Author: Taras12
Date: 2013-02-17 17:37
I am just starting clarinet, too. Experience-wise, I learned the pipe organ over 35 years ago. The problem was (and still is) that I had no piano discipline, including scales/arpeggios/patterns. That really has been a hindrance to my playing.
My embrouchure is not yet developed enough to play for 45 min straight at a time. I therefore break up into 2 30-45 minute sessions. At least 10 min of long tones, 10-15 min of scales/exercises and then 10-15 min of actual music (the fun part). It works out to be 25-30%, 25-35%, then 35-50% divisions of labor.
Tristan
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Author: C.Elizabeth07
Date: 2013-02-17 21:27
I'm not just beginning clarinet. I've been playing for almost 20 years. Just brushing up on stuff and focusing on holes in my technique. Like you said, it can be a real hindrance
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Author: Nessie1
Date: 2013-02-18 12:09
C Elizabeth,
You sound like a dedicated, hard-working student to me, doing the stuff that all of us would/should if we had the time and/or discipline. For someone at your level I would say that it will bear enormous dividends to spend this time on scales and arpeggios if you are prepared to do it.
My teacher advised me to practice starting scales on other notes than the tonic, start at the top or part way up besides at the bottom, to practise chords with sixths in rather that just ordinary arpeggios, whole tone scales and you name, we did it.
In terms of books, most of the obvious candidates have been mentioned - I have done a lot of Kroepsch in my time and also like Baermann.
Good luck and all the best
Vanessa.
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Author: rcnelson
Date: 2013-02-18 12:33
I enjoy the Albert book too, although I should spend more time with Baermann. 90 minutes a day of scale work? My 2 cents (probably worth less today due to inflation) is that if you are practicing 3 or more hours a day AND you have found 90 minutes a day is improving your technique rapidly, then it sounds like the effort is worth. But more 50% of your practice time seems a bit much. There is so much more out there to work on.
As a doubler who has a non-music career, I am happy to get 60 minutes of clarinet time in any 1 day. I use the "tyranny of the urgent" method of determing which of my 6 woodwinds I need to practice. The needs change every week.
Good luck.
Ron
Selmer Mark VI tenor (1957), Selmer Mark VII alto (1975)
Buescher True Tone soprano (1924), Selmer CL210 Bb Clarinet, Gemeinhardt 3SHB Flute, Pearl PFP105 Piccolo
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Author: Lelia Loban ★2017
Date: 2013-02-18 13:03
>> And I don't think of scales as "purgatory" lol, I actually really enjoy the process! I just always feel like everything falls into place after that
>>
I think we should take C. Elizabeth's word for this, because some lucky people do manage to avoid being indoctrinated by the notion that music theory is boring. For some of us, it's fascinating.
C. Elizabeth, have you ever tried writing your own scale exercises and your own original music?
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: runner
Date: 2013-02-18 17:12
David Lewis, my college teacher, presented his students what, I believe, is his own creation. Start with E Major , our lowest note, and play three octaves with a slurred triplet figure. All three e minor forms and then arpeggio (Major and minor). F Major's triplet art. : slur two, tounge one. F # tounge one, slur two. G Major: tounge one,slur two, slur two, tounge one. A flat major etc. just two octaves with various eighth and sixteenth patterns.
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Author: C.Elizabeth07
Date: 2013-02-19 02:55
Vanessa,
Thank you! I'm flattered that I sound like a hard working dedicated student! I always feel like there is more I could be doing to be better and to improve. And thanks for the suggestion about starting on other notes and adding the sixth to the arpeggio. Brilliant ideas. As well as the Kroespch, which I own but has been merely collecting dust on my book shelf.
Ron,
I am definitely going to look into Baermann, I have it stashed here somewhere! I know an hour and a half is a significant amount of time but I average about 6-7 hours of practice a day so its anywhere from 25-20% of my practice time. I'm a full time student with only a part time job as an usher so I really have nothing else to do all day aside from practice!
Lelia,
Scales are awesome. I know it was mentioned what Kal Opperman had said and I remember hearing that before, that "No one ever won an audition playing scales" but I was thinking about it today and no one won a job with shabby technique either (and I would really like a job at some point).
I have in the past written out etudes and exercises to go along with orchestral excerpts I was preparing to learn, or occasionally some solo rep. I don't know why I have never done it for scales... I've always relied on what was already out there. I may have to give it a shot. It would probably be a good idea to not be so lazy and write some of my own.
Runner,
I think I'll use that to base my own patterns on! Thanks!
Thank you everyone this was really really helpful! Definitely have given me a lot to think about and a lot to consider.
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Author: saxmad
Date: 2013-02-19 09:34
Elizabeth,
I think you know more about scales than most folk posting here.
Why not download a copy of MuseScore (a FREE notation program) and write/generate your own exercises. Tailor the exercises to your technique as it stands today and where you want to improve.
Eg if you want to improve your throat tones, write exercise that stress those notes.
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Author: Nessie1
Date: 2013-02-21 13:06
Just a note to say that I was reminded of the wisdom of my teacher's advice (above) last night when the orchestra I play in were looking at the second set of Malcolm Arnold's English Dances - lots of things like B major scale and arpeggio starting on altissimo F sharp!
Vanessa.
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Author: Buster
Date: 2013-02-21 18:19
C. Elizabeth,
Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns should provide any scale/interval/pattern variant you could wish to practice.
(I believe it is still in print; 'Charles Scribner's Sons; New York' is the original publisher.)
According to the author, ALL possible note combinations/patterns are contained in the work... organized based on progressing divisions of the octave(s)--- starting with a Tritone Progression (2 part, one octave, equally divided) onto a Sesquiqpinquetone Progession (12 part equal division over 11 octaves.)
At 240-some pages, I haven't the energy to dispute his claims of totality; in this case I'm willing to take an authors word for it.
All patterns are written commencing on a printed C so transposition will be a necessity, but I can't see that to be a bad aspect from an aural/theory perspective!
Another option is George Russell's Lydian Chromatic Concept of Tonal Organization, though I would say it is a bit more "heady" off-the-bat than other works. Russell proposes a revised analysis of Western tonal music based from his concept of "tonal gravity"; any scales/patterns would likely need be derived by the practitioner.
-Jason
Post Edited (2013-02-22 18:17)
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Author: Jack Kissinger
Date: 2013-02-21 18:38
Another vote for Hamelin here. Also, if you haven't done them, Jettel's "Der vollkommene Klarinettist" ("The Accomplished Clarinettist) series. (At your level, I would think you should be able to skip the "Preliminary" books.) The exercises include non-standard intervals in difficult keys with unusual rhythms. If you haven't done them, why haven't you? ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif) I'm told freshman are using the first book at Eastman. I find that scary.
Best regards,
jnk
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Author: rmk54
Date: 2013-02-21 22:39
I like to practice six-nine arpeggios with the root in the soprano...
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