 The Clarinet BBoard
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Author: Wookie001
Date: 2023-04-12 19:32
Which exercises, books or pieces would you recommend to get to a professional level on the clarinet? My goal is to study classical clarinet (French Bb clarinet) at a conservatory.
Also, which brand of reeds do you think is best for classical playing and which strength (in combination with a Buffet R13) ?
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Author: Paul Aviles
Date: 2023-04-12 20:11
Daniel Bonade said that the Rose Etude books contain all you need to be a proficient orchestral player. That was probably an exaggeration but they do cover most of the tonal essentials. I’d say as a start, you want to own a physical copy of the Baermann Book III (3, the scale book). I prefer the Carl Fisher edition.
And while I’m deep into my opinions, you can’t go wrong with the Vandoren line of cane reeds. The standard “blue box” is a great start and there are others such as the Rue Lepic 56 or the V21s which are both excellent reeds.
The strength of reed is determined by the mouthpiece you use (MANY factors but the larger the tip opening of the mouthpiece, the softer the reed you will require).
And that brings us to the necessity of having good regular private instruction. It is far too easy to go off on a wrong path without guidance. And it is much harder to UNTEACH a bad habit. It’s much better to move correctly, slowly and methodically through technique and learn it right the first time.
…………Paul Aviles
Post Edited (2023-04-13 03:42)
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Author: m1964
Date: 2023-04-13 05:53
Wookie001 wrote:
"Which exercises, books or pieces would you recommend to get to a professional level on the clarinet? My goal is to study classical clarinet (French Bb clarinet) at a conservatory.
Also, which brand of reeds do you think is best for classical playing and which strength (in combination with a Buffet R13) ? "
I's suggest to speak to your teacher (hopefully you have one).
If you do not have a teacher, you might consider looking for one if you are serious about studying.
***I am only speaking from my own experience.
I guess it is possible to use online resources to study seriously and reach a pro level of playing...maybe.
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Author: Tom H
Date: 2023-04-13 06:08
I agree the Rose & Baermann books are basic. Perhaps some others such as the Kroepsh books, Langenus, David Hite, etc. Then there are the more difficult contemporary studies. I started there with the Rudolf Jettel books. There are a number of others, notably Alfred Uhl, John P. Russo and my favourite "16 Contemporary Studies" by Frantisek Zitek (tough to find). As suggested, go with what a private teacher suggests. For a period of 10 years I went to music stores and thumbed though many to find the hardest ones. In between these two levels of difficulty are some excellent books by Paul Jean Jean and Kalmen Opperman.
I've used regular Vandoren 2.5 reeds on my R13 for almost 50 years now. I don't subscribe to the view that they are worse now than decades ago.
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Post Edited (2023-04-13 06:10)
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Author: SunnyDaze
Date: 2023-04-13 15:04
Finding a private teacher with that level of expertise is quite hard, I've found.
I've noticed a lot of my friends are going to teacher who are some distance away and getting help over zoom now, because there is often not someone with the necessary level of expertise close to home.
That's been my experience too, even though I live in a city full of musicians.
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Author: m1964
Date: 2023-04-13 19:16
SunnyDaze wrote:
> Finding a private teacher with that level of expertise is quite
> hard, I've found.
>
> I've noticed a lot of my friends are going to teacher who are
> some distance away and getting help over zoom now, because
> there is often not someone with the necessary level of
> expertise close to home.
>
> That's been my experience too, even though I live in a city
> full of musicians.
Some things are much easier to correct when seen in person. Esp. when dealing with a beginner level student.
If you cannot find a good teacher you need to keep looking. In a big city, there must be at least one (and probably more than one) that can work with you.
You also need to go to various concerts and hear different clarinet players. It is relatively easy to get to speak to a musician after a church concert. Also, do some research on who teaches at local college(s)- even if that teacher is not available, they may suggest another teacher to you.
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Author: Paul Aviles
Date: 2023-04-13 19:29
I would have to disagree with the notion that it is hard to find a teacher. Seek out the clarinetists in the community whether in concert (in the symphony) or at the local universities. If the contacts themselves are unable (too busy with students, or just not offering private instruction) they WILL know someone who does.
Anyone who plays clarinet well is a competent teacher (well....almost everyone).
But traveling down the path of learning the instrument WITHOUT regular, in-person instruction is a NON STARTER. DON'T DO IT.
..................Paul Aviles
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Author: SunnyDaze
Date: 2023-04-13 20:05
I think it would be lovely to live in a world where we had the freedom and time and money to do all those things.
I can imagine that for people who have great talent and intend to become a career musician then that might all be possible.
For a lot of people that's not how it is though, and I'm really grateful that this forum exists, and resources like clarinetmentors, for those who can't do all that stuff.
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Author: cigleris
Date: 2023-04-13 21:12
Hi SunnyDaze,
I offered my help to you as a fellow Brit when you asked on this forum but was ignored. I’m a professional performer but I also teach all levels and ages from early teens to adults. There are many about if one wants a teacher.
My advice to the op is to have the passion and dedication, put in the hard work, be nice and play nice and don’t lose sight of the reasons you wanted to pursue this. Especially during the rejections.
Peter Cigleris
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Author: SunnyDaze
Date: 2023-04-13 22:17
Hi Peter,
Thanks, sorry, I had forgotten that.
I don't mean to belabour the point, and I realise it's too late for that, but again it's an example of how brilliant it can be to meet people through this forum who we could only reach through digital means. I wouldn't be able to get to where you are in person, and I've learned such a huge amount from listening to you talk here.
I just think it's so wonderful how the people on this forum can give such brilliant advice on such nuanced details of clarinet technique and equipment.
Conversely when I've been to see local teachers, they've asked me to just push through pain while using bad technique, sometimes week after week for months. This is people who have a degree in clarinet playing. At the same time, no advice was offered on equipment or technique or the ergonomics of the instrument. My local shop is amazing, but when I've asked their advice they wouldn't have talked to me about Brad Behn or Clark Fobes or anyone like that, because those mps are not sold in shops here.
It really raises the question in my mind of how we can bring these two necessary things (good technical knowledge and in-person teaching) together. I mean I totally get what you say about the importance of teaching in person, but at that same time, sometimes the good teacher is really really far away. I wonder if we can use really careful use of video cameras to get round that?
As a teenager in rural Scotland I would have give my eye teeth for that kind of help and I'm sure I'm not the only one.
In the end I am now having such a lot of wonderful help from Paul Aviles over email and I'm totally eternally grateful for that. I've come on in leaps and bounds with his help. I do sometimes get in quite complicated knots trying to get the webcam into the right position to show what I need to show, but it's so worth it.
Sorry, I'll stop talking. I guess you'll have got my point by now.
Jen
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Author: ElizabethMH
Date: 2023-04-13 23:08
I live in Jen's city/town, so I do concur with what she is saying regarding the situation here. There are a number of young clarinet students/those doing teacher training, but not necessarily the kind of teacher who can advise at top level.
Elizabeth
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Author: Paul Aviles
Date: 2023-04-14 00:44
There are some things that cannot be substituted. For example, though admittedly many of my teachers did not play at all in lessons to offer up how things are supposed to sound, you cannot begin to imagine what a good sound is in a space unless it it provided for you. Then at very least you have an example of what to strive for. That way, as well, the teacher (or mentor or model or whatever you want to call that person) knows what the student has heard. This cannot be replicated electronically because there is no way to have certainty what the sound reproduction is on the other end. Also SO MUCH of the clarinet sound (unlike vocal or brass sounds.....sounds that emanate from a point source) is dependent on room interactions which simply cannot be expressed fully even in quite wonderful recordings.
So the other possible teachers to seek out would be the professor's students. They are the professor once removed, have the knowledge base, the technical prowess, and competitive edge. It would not take much convincing (but perhaps some perseverance) to convince a local professor that the mentorship process would be good for BOTH participants (and may be free if not quite a bit less expensive).
As for commitment of time, I can't help you there. Playing a musical instrument is a craft and any craft requires the commitment of time and energy. It depends on one's willingness to drop other activities for the sake of putting in the time on a musical instrument (or training your voice for that matter). You determine what is possible. There is also no real guarantee of results either unfortunately. But it has been said that you miss 100% of the chances you don't try for.
.............Paul Aviles
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Author: SunnyDaze
Date: 2023-04-14 09:32
Hi Paul,
Thanks for commenting. Yes I see what you mean about hearing someone play.
I'll not rabbit on further - I don't want to derail the thread any more than I have.
Jen
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Author: ElizabethMH
Date: 2023-04-14 16:01
Back to the OP's question, I suppose you can add R. Temple-Savage 'Difficult Passages for Clarinet in Bb' and Ernesto Cavallini 30 Caprices, or the 30 Caprices that are combined with other studies in 'Artistic Studies, Book 3 - From the Italian School', edited by David Hite. I have these, but haven't played them. You can find a thread on Cavallini here through a search. (Cavallini's caprices do make my eyes water just by looking at them.)
Elizabeth
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Author: graham
Date: 2023-04-14 17:33
Suggest arranging a consultation lesson with a top player/teacher in Edinburgh or Glasgow to assess your situation. Such person may be able to do zoom lessons regularly, alongside occasional in person lessons. The support here is great, but I think you require professional guidance based on your specific situation at this juncture.
graham
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Author: Wookie001
Date: 2023-04-15 19:35
Thanks for your recommendations ! At the moment I don't have a teacher, but will soon start getting clarinet lessons.
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Author: Wookie001
Date: 2023-04-15 19:47
I live in Cologne in Germany, not so far away from the Hochschule für Musik und Tanz Köln. So it would be a good idea to ask for clarinet lessons there?
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