CLARINET METHOD - learn.pemusic.com
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CLARINET METHOD BOOK ONE Dear Student: Welcome to the world of instrumental music. This book is designed to help you appreciate, read, and play music. Have fun with music throughout your life! Sincerely, Paul Effman “Music is the universal language of mankind” – Henry Wadsworth Longfellow Written by Paul Effman Jay Friedman – Editor & Graphics Lou & Justin Varuzzo – Photography 2 nd edition Copyright © 2006 by LJ Hutchen International Copyright Secured Litho in U.S.A. All Rights Reserved
Transcript of CLARINET METHOD - learn.pemusic.com
CLARINET METHOD
BOOK ONE
Dear Student:
Welcome to the world of instrumental music. This book is designed to help you appreciate, read, and play music.
Have fun with music throughout your life!
Sincerely,
Paul Effman
“Music is the universal language of mankind” – Henry Wadsworth Longfellow
Written by Paul Effman Jay Friedman – Editor & Graphics Lou & Justin Varuzzo – Photography
2nd edition Copyright © 2006 by LJ Hutchen
International Copyright Secured Litho in U.S.A. All Rights Reserved
Step 1.
a. Mw
b. Rtip
c. Twto
Step 2.
a. Plthth
b. Slmth
c. Aistip
Step 3. Comotion. Keamount of soft cloth.
a. Plb. Cc. C
PrthpiKOhope
d. CthJoJobaho
R
Moisten reed tipwhile assemblinReed tip is fragi
p or brush agaiwist the mouth
ogether. Apply
lace the flat sidhe flat part of thhe reed in placelide ligature ov
mouthpiece. Be he tip of the ree
Adjust reed posis a tiny bit lowep.
onnect sectionseep corks lubrigrease. Remov
lace mouthpiecConnect Bell to Connect Upper
ress your fingehe Upper Jointieces. This will
Key. The UpperOVER the Low
oles in the twoerfectly.
Connect the mohe Upper Jointoint as you do oint. The reed ack of the clariole.
Reed
p by placing in ng clarinet. ile. Do not toucinst clothing. hpiece and barrgrease if nece
de of the reed ahe mouthpiecee with your thuver the reed andcareful not to
ed with the ligaition so that theer than the mou
s with a twistinicated with a smve excess greas
ce and barrel aLower Joint. Joint to Lowe
er on the middlt as you connel lift the Upperr Bridge Key er Bridge Key sections must
uthpiece and bt. Hold the Upthis, not the Lshould line up
inet, which has
Tip
Clarin
mouth
ch reed
rel ssary.
against . Hold
umb. d the touch
ature. e reed tip uthpiece
ng mall se with a
side.
er Joint. le hole of ct the r Bridge goes
y. The line up
barrel to per
Lower p with the s just one
R
+
Scr
L
net Asse
(2)
Mouthpiec
NEVER USE FCor
Reed
GentlyIf the reed
NEVER EA
Note - rews Point to R
Up
Lower Bridge K
mbly
ce
+
FORCE TO PUT rks should be greas
Ligature
Ry fit sections d is chipped –
AT FOOD ORH
=
Right
pper Bridge Ke
Key
Barrel
AN INSTRUMEsed only when nec
Remember together – DO
– the ClarinetR CHEW GUMHAVE FUN!
ey
=
ENT TOGETHERcessary.
O NOT FORCt WILL NOT M WHILE PL
R!
CE. PLAY.
LAYING!
PLAYING POSITION:
Posture is important. Sit up straight. Sit forward, do not lean on back of
chair. Feet should be flat on the floor.
HAND POSITION AND EMBOUCHURE (the way you shape your mouth):
Right hand on lower joint. Left hand on upper joint. Place your lower lip slightly over your
lower teeth. Put the reed on your lower lip inserted
about ½ inch into your mouth Top teeth should rest on the mouthpiece. Tighten the corners of your mouth . Remember – don’t puff your cheeks!
THE CLARINET
(3)
E
E1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
1 2 3 4 1 2 3 4
(6)
Lesson 1
Teacher Notes: It is essential that very slow tempos are used - . A typical assignment for young students should be half a page. Foot tapping and tonguing should be stressed throughout the method. Over a 2-3 week period (while teaching Lessons 1 & 2) explain: G clef, whole note, whole rest, barline, double barline, and time signature. In order to accommodate ranges of different instruments in this series, some exercises will contain unmatched pitches from instrument to instrument. Unless noted otherwise, exercises will remain playable by mixed instruments.
1
2
3
4
5
6
7
Tap your foot:
Keep tapping
keep tapping...
keep tapping...
Too-oo-oo-oo Too-oo-oo-oo Too-oo-oo-oo Too-oo-oo-oo
Too-oo-oo-oo Too-oo-oo-oo
Quarter Note Quarter Rest
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
1 2 3 4 1 2 3 4
(9)
Lesson 4
1
2
3
4
5
6
7
Tap your foot:
Keep tapping
8Mary Had A Little Lamb
Time To Rest
Keep On Resting
Whale Of A Scale
keep tapping...
keep tapping...
Important message to musicians: at this point in your progress, you should start adding daily warm up exercises to your home practice schedule. See Page 28.
Too Too Too
Tongue every note
Keep tonguing
Key Signature
(12)
Lesson 7
1
2
3
4
5
6A
Old MacDonald Had Real Estate
Your First Duet
Roll left pointer fingerRoll left thumb
On A Roll
Yankee Doodle
Rock On
Aura Lee
6B
(13)
Lesson 8
1
2
3
4A
4B
A
Holiday Songs
Jingle Bells Again
Dreydle Dreydle
Jolly Old St. Nicholas
B
Good King
Duet
B A G F
B A
G
F
(16)
Lesson 10
1
2
3
4
5
6
7
8
Low Notes Are Tuff
Rock Tune 1
Rock Tune 2
Scale
F E
F E
1 2 3 4 1 & 2 & 3 & 4 & 1 2 3 & 4 & 1 2 3 & 4 & 1 2 3 4 & 1 2 3 4 &
(21)
Lesson 15
1
2
3
4
5
6
7
Scale
Another Scale
King Henry The Eighth Note
(Review) (New)
Low Cross Buns
Mary Had Low Notes
Long, Long Ago8
Long Rest
9 10 11 12
13 14 15 16 17 18
19 20 21 22 23 24
25 26 27 28 29 30
31 32 33 34 35 36 37 38
39 40 41 42 43 44
45 46 47 48 49 50
51 52 53 54 55 56
Fadreit BluesJay Friedman
1st Clarinet
(24)Teacher Note: For Fadreit Blues score email [email protected]
Long Rest
9 10 11 12
13 14 15 16 17 18
19 20 21 22 23 24
25 26 27 28 29 30
31 32 33 34 35 36 37 38
39 40 41 42 43 44
45 46 47 48 49 50
51 52 53 54 55 56
Fadreit BluesJay Friedman
2nd Clarinet
(25)Teacher Note: For Fadreit Blues score email [email protected]
