CLARINET FUNDAMENTALS

1 School of Music Dr. Joshua Gardner Arizona State University, School of Music PO Box 870405 Tempe AZ 85287-0405 CLARINET FUNDAMENTALS A Workbook for Developing CLARINET Technique 2017 Joshua T. Gardner CLARINET FUNDAMENTALS A Workbook for Developing CLARINET Technique By Joshua Gardner The purpose of this workbook is to present the performance FUNDAMENTALS necessary to develop satisfactory technique on the CLARINET . The exercises include long tones, scales, arpeggios, thirds, and various single and multiple articulation exercises. With proper instruction, they will help you develop adequate air control, correct and agile finger motion, proper hand position, flexible intonation, and articulation accuracy and speed. By learning these FUNDAMENTALS and committing them to muscle memory, you will be able to make music more efficiently and with fewer limitations.

2 All of the exercises are presented in two octaves. You should expand them to three octaves gradually as you become comfortable with the upper register. Fingerings are provided for basic patterns (major/minor scales, arpeggios, and thirds) and the third octaves. Blank fingering diagrams are provided at the end of this workbook for recording custom fingerings. CONTENTS: Intonation Guide for Long Tones .. 1 Long Tones .. 2 Major & Minor Scales .. 3 Major & Minor Arpeggios .. 7 Major & Minor Thirds .. 9 Additional Scales & Arpeggios ..11 Third-Octave Guide ..19 Practice Techniques ..28 Intermediate Single & Multiple Articulation Exercises ..29 Single Articulation, Langenus 22 ..28 Single/Multiple Articulation, Langenus 23 ..30 Multiple Articulation ..32 Articulation Patterns ..33 Custom Fingering Chart ..34 Intonation Guide for Long Tones 1 Being able to play in-tune with a tuner does not necessarily equate to being able to play in-tune within an ensemble.

3 Certain pitch adjustments need to be made when playing in ensembles. Using a tuner provides the opportunity to learn the general tuning tendencies of our instruments and how to adjust to those tendencies. Once we know our instrument s tendencies, we can better predict how to manipulate a given note to be in-tune within a performance context. Below is a table indicating the pitch changes necessary to play a given interval in-tune (for Just Intonation). In addition to playing Long Tones with a tuner, play them with a drone to practice adjusting to these various intervals. Try to eliminate the beats between the two tones. Listen carefully for a third tone the difference tone (also known as the resultant tone, combination tone, or Tartini tone), which is defined by the frequency difference between you and the drone. For nearly every interval above the drone pitch, some adjustment will be required to be in tune.

4 To lower the pitch, it may be necessary to close tone holes partially or completely, depending on how much adjustment is required. To raise the pitch, try to avoid using excessive embouchure pressure this will affect the sound detrimentally. A better option is to open tone holes to raise the pitch. Experimentation will yield the best results with your particular setup. Pitch adjustments required for Just Intonation Interval Ratio Adjustment (cents) Unison 1:1 Minor 2nd 16:15 + Major 2nd 9:8 + Minor 3rd 6:5 + Major 3rd 5:4 Perfect 4th 4:3 Tritone (septimal) 7:5 Perfect 5th 3:2 + Minor 6th 8:5 + Major 6th 5:3 - Minor 7th (septimal) 7:4 Major 7th 15:8 Octave 2:1 % % % % % % 2 LongTonesResonanceFingerings% LR RL% LR RL% LR RL% LR RL% RR RR% R R% R R% RL R% LRR LRLR% LRR RLR% LRR RLR% R RLR3 Major & Minor ScalesC majorA natural minorA harmonic minorA melodic minorF majorD natural minorD harmonic minorD melodic minorBb majorG natural minorG harmonic minorG melodic minor% RRRR RRRR% LRRR RRLR% LRLR RLLR% LRLR

5 RRLR% RRLR LRRR% RRLRRR LRRRRR% RLRR LRRR% RRR LRRRRR% RSRLRKR RLRSRKR% RSRLKR RLRSRKR% RSRLKR RLRSRKR% RRLR RLRSRKR4Eb majorC natural minorC harmonic minorC melodic minorAb majorF natural minorF harmonic minorF melodic minorDb majorBb natural minorBb harmonic minorBb melodic minor% RSRLKRRL LRSRKKRRL% RSRLRKR RLRSRKR% RSRRKR RRSRKR% RSRRKR RLRSRKR% RRL2RR R2 LRRR% RRL2 KRR 2 LRRKRR% RRLKRR LRRKRR% RRLKRR 2 LRRKRR% RLRRLRR LRRLRRR% RRLR LRRR% RRLR LRRR% RRLRR LRRR5Gb majorEb natural minorEb harmonic minorEb melodic minorB majorG# natural minorG# harmonic minorG# melodic minorE majorC# natural minorC# harmonic minorC# melodic minor% LR RL% LLRR RLLR% LLRSR RLLSKR% LSRLRRR RLLKR% LR RL% LR RL% LRR RLR% LRR RL% LR RL% LRLR RLRL% LRRLRR RLLRRR% LRRLRR

6 RLRL6A majorF# natural minorF# harmonic minorF# melodic minorD majorB natural minorB harmonic minorB melodic minorG majorE natural minorE harmonic minorE melodic minor%31 R R RR R% RR RR RR RR% RR R RR R% R % R 1/1R R 1/1R% R R R R% RRR RR RR RR% RL LR RL LR% RL LR RL LR% LR R LR R% R R LR R% RR 1/1RR RR 1/1RL7 Major & Minor ArpeggiosC majorA MinorF majorD minorBb majorG minorEb majorC minorAb majorF minorDb majorBb minor% R1RR1/ 2 RR11/ 2 R1RR1/ 2 RR11/ 2% RR 1R R1 R RR 1R R1 R% RR1L L1RR RR1L L1RL% RL LR RL LR% LR R LR R% R R LR R% RR RR RR RL% RR R RR R% R % RR RR RR RR% R R R R% RR R RR R 8Gb majorEb minorB majorG# minorE majorC# minorA majorF# minorD majorB minorG majorE minor% LRLR RLRL % LR LR RLRL % R RRR R RL R% LR LR R RRR % RRR LRR

7 LRR R% 1 RR22 LRRR R% RRL RRR RLR RR% RRRL R LR RR2% RRR RLLR LL RRR R% L RRLL RRRR LLR% LS1RR LL 22 RRR R22LL RR1 SLR% RRRR LLR 2 2 LLRR1S L R9 Major & Minor Scales in ThirdsC majorA minorF majorD minorBb majorG minorEb majorC minorAb majorF minorDb majorBb minor% R22RL S1 LRLL22L LRL1S LR2 2LL R% LS1RL2 2 RRR R22 LLRL 1 SLR% 2RR11 LRL L22 RRR2 2 LLRL1 1RR 2K% 22 RRL R L LR2 LLRL11R R22% LL22 RR1 1LR LL2LL RL11RR 2 2 LLRR% R11 RRLL 22RR 22 LLRL1 1RR% 211LR LR222 2 RLRL11 22% R22 RLS1 LRLL22R L RL112 2 LLR% 11LR LR2 2 22 RLRL 11% 211 LRL R22RR2 RLRL1 12K% 2211L RLR222 RLRL11 22R% LR22RR1 1 LRLL2RL

8 RL112 2 RLRR10Gb majorEb minorB majorG# minorE majorC# minorA majorF# minorD minorB minorG majorE minor%34 % %35 % % % % % 11 Additional Scales and ArpeggiosChromatic ScaleChromatic Scale in Major ThirdsChromatic Scale in Minor Thirds% % % %75 % % % % 12 Harmonic: raised 7th ascending and descendingMelodic: raised 6th and 7th ascending.

9 Natural descendingWhole Tone ScalesOctatonic ScalesMinor Scale FormsNatural: follows key signatureRoot FRoot ERoot ERoot FRoot F#%31 % % % % % % % % % % % 13 Blues Scales%32 % % % % % % 14 Diminished

10 Seventh ArpeggiosAugmented ArpeggiosRoots: E, G, Bb, DbRoots: F,Ab, B, DRoots: F#,A, C, EbRoots: E, G#, CRoots: F,A, C#Roots: Gb, Bb, DRoots: G, B, D#% % % % % % % % % % % % 15 Major-Minor Seventh Arpeggios% % % % % % % % %