 The Clarinet BBoard
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Author: Wookie001
Date: 2017-07-25 18:53
Hi,
which method would you recommend to really start with a Boehm System Bb clarinet from scratch and become a professional clarinet player in the end with really good technical skills? can also be methods that follow each other.
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Author: Ed
Date: 2017-07-25 20:32
I like Klose a lot. Lots of good material in there. I always feel that if you can get through that book, you would be a darn good player. I always jump around a bit when using it to teach, choosing how/when I want to cover certain issues, depending on the student's needs.
There will be lots of suggestions, as there are plenty of good methods out there. The most important to me would be taking the time to practice and learn it, hopefully working with a good teacher. I have had students, especially older ones who want to learn to play, but don't want to take the time to get there. They just seem to want it to happen.
I wish it was that easy.
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Author: zhangray4
Date: 2017-07-25 20:33
Klose, Baermann and Rubank are pretty good. But I would only recommend Rubank to start off, and switch to Baermann/Klose later
-- Ray Zhang
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Author: kdk ★2017
Date: 2017-07-25 20:57
Wookie001 wrote:
> Hi,
>
> which method would you recommend to really start with a Boehm
> System Bb clarinet from scratch and become a professional
> clarinet player in the end with really good technical skills?
> can also be methods that follow each other.
How quickly do you want this progression to happen?
And, why would you ask about "best" in the subject line, when the most honest answer would be "none?" There's no "best" method, but there are a lot of useful ones (some of which have already been mentioned).
Are you a high school student? A pro on some other instrument who wants to learn to double on clarinet? A college student who wants to switch to a music major? Your situation makes a difference.
Karl
Post Edited (2017-07-25 21:01)
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Author: Wookie001
Date: 2017-07-25 21:26
thanks.
is the Klose method edited by Stanley and Naomi Drucker a good one?
I've been playing saxophone for 14 years and now play the clarinet for about 1 year. I'm considering to study clarinet on a music college and become a professional clarinet player. but I know it will take time, don't want to hurry things.
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Author: kdk ★2017
Date: 2017-07-25 23:24
WhitePlainsDave wrote:
> Klose volume 1
Just on a tangent, I looked recently for a copy of Volume 2 to replace my very worn and heavily marked one (from my student days in the mid-1960s). I only found complete editions (both volumes together). I didn't make an exhaustive search, but is Klose still available in two separate volumes? If so, what publisher?
Karl
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Author: WhitePlainsDave
Date: 2017-07-26 01:10
I don't know Karl. My ancient separate editions were print set by cavemen. Illustrated dictionaries have asked to photograph them for placement next to the word "dogeared."
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Author: Matt74
Date: 2017-07-28 09:48
Chewbacca,
FWIW: Ditch the saxophone. But seriously, if you can play clarinet you can play saxophone. As you know it doesn't work the other way around. Clarinet literature is better. I don't know your motivation, but personally I always had good experiences with my clarinet teachers, and less than stellar ones with my saxophone teachers. At home I can listen to classical clarinet, but not classical saxophone. I was never happy with my saxophone sound. The thing was as long as I tried to both (double majoring) I couldn't mentally switch. It was just stuck there in my brain. After a couple years of playing only clarinet I started to think clarinet.
Probably the simplest thing to do is learn all your scales and thirds. Do them right and left handed if possible (R B, L C, L B, R C). Work on getting around the throat key combinations. Work on the third register, everything at least up to F. Arpeggios. You don't have to do it all at once, but always work on it. To learn the first register sight read duets and play the second part. Play the 3rd part in band - it's harder. And get your clarinet overhauled by a good tech. It will be A LOT easier. Get a loud mouthpiece for Jazz and marching.
- Matthew Simington
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Author: Wookie001
Date: 2017-07-30 14:33
Actually I think both clarinet and saxophone have a great sound, both in their own way.
but that's true, I also notice difficulties sometimes when I've played the sax and then switch to clarinet, the embouchure is quite different. and it feels like the clarinet embouchure is more complex and needs more precision.
Post Edited (2017-07-30 14:35)
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Author: seabreeze
Date: 2017-07-30 20:22
For serious students, intent on doing the hard work necessary to perform music of any degree of difficulty, there are a few books that get the job done better than most. Klose is good but very unsystematic. A far more systematic approach is Eugene Gay's two volume "Methode de Progressive and Complete." Scales, scales in intervals, and arpeggios are introduced in that method in a very methodical way, interspersed with musical examples from a rage of classical composers. The book is very expensive, but you get the theory and the application of each idea laid out and illustrated to train your fingers and your ears, and it is great preparation for the Baermann Method book 3 scale book.
Even the E. Gay method, though, doesn't teach enough rhythmic subdivision. For that, get the Pasquale Bona "Rhythmical Articulation" edition for treble clef. You will also have to learn to count and play mixed meter--something virtually absent (except for the Jeanjean 20) from most of the classical methods and etude books. A solid start in mixed meter is James Meyer's "30 Changing Meter Duets" (Trigram Music). You never really know if you've got the mixed meter right until you play something in it with at least one other performer playing his/her own separate part, and the Meyer duet book gives you the confidence you need to get it right.
The Baermann Method, vol 3, is still the most accessible and relatively thorough guide to basic scale, interval, and arpeggio technique for the clarinet. David Hite's edition is particularly helpful (Foundation Studies, Baermann Book 3, Op. 63).
Kal Opperman's "Modern Daily Studies for the Clarinet, Book One--18 Studies and 3 Etudes" gives you great practice in little finger combinations, left hand throat tone fingering, and register changing. Some of the studies--#17 and #18, for example--make you read double sharps and double flats to increase your sight reading. A great book to get used to even the most extreme double flats and double sharps in quick succession is Joe Viola's Chord book for alto sax (Berklee). If you train you eyes and fingers to play these, you will approach the accidentals in Richard Strauss with much less surprise and trepidation.
Post Edited (2017-07-31 00:16)
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