CHICAGO MUSICAL COLLEGE

MODERN PRINCIPLES OF CLARINET PLAYING

A DISSERTATION SUBMITTED TO THB FACULTY OF TIIB CHICAGO MUSICAL COLLEGE

AS PARTIAL RE~UIRE~:NT FOR THE D&GREE MASTER OF MUSIC DEPARTMENT OF CLA.RINll.""'l' • •

BY

RO BERT EDWARD EGNER

_, -. -- CHICAGO, ILLINOIS -.: - . .ruu, U48 Thesis M 788.6 E31 c.1

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-::-- - ·- ·- ~ AUG 6 - . ' Dc;DICATIID *********

TO **

MARGARET LYLB WILSON **•a••*****••••********* • FORWARD *******

Since the turn of the century there has been a gradual increaee in the number of instruction books for clarineti1t1 and at present there is no dearth ot books and other related material dealing with this subject. I have, however, long felt that no book actually synthesized the Principle! ot clarinet playing in all its aspects, and thi! ha• been the aim throughout thia work. All of the elements ot thieetudy, muat, ot necessity, be integrated if a unity ot purpoee ia to be achieved. Thi• work makes no pretenae to completeness -- the 1ubject ia tar too broad for the attainment of.uch a goal. It tbe material is not aa meticulously organized aa might be deaired, the reason is that so much of it defies rigid claaaitication. The predominant hope is that somewhere • within theae pagea the reader will find a few practical ideas, 1ugge1tion1 or techniques which may be applicable to hie own playing.

I am especially grateful to the following persons tor their work and very valuable assistance in the planning and working out of this books Mr. Max Wald, Chairman of Theory Department, C.M.c. Mr. Albert Freedman, Instructor in Clarinet, C.M.c. Mr. Riobard J. Egner Modern Principles of Clarinet Pl~ing ' 1aa•~***************•••••****M••**"*** \

\ Table ot Contents \ \ ·····**~•·••••***

CHAPTER PAGR I Orientation •••••••••••••••Brief History ot The Instrument 1 II Prel"equialtea •••••••••••••For Prospective Clarinetists 6 III Baaentiala or Tone Production 9 IV Interpretation 30 V The Clarinet in The Jazz Idiom VI Technlo 51 VII Survey ot Important Solo Clarinet Literature 68 Bibliography 74 CHAPTER I *********

In order to gain some knowledge from any study, it is neoesaary to arrive at an orientation. Hence, the writer will briefly diaouaa the growth and development of the clarinet ao that the principles which underlie modern clarinet playing may be more .fully understood. The evolution ot the clarinet was a very natural and gradual prooeas. It is, of course, impossible to say exactly when each new development took place, but in this chapter of the theaia a brief discuasion of some of the im­ portant stepa in this process seem to be desirable. The

olarinet aa we know it today represents the oulmin~on of the work ot many men in many lands. Therefore we cannot say that the clarinet was "invented" by any one individual. Some authora would have ua believe that suddenly in 1690 • there appeared a new instrument, the clarinet. We must take into account the fact that the development of the clari­ net has ita roots in antiquity. The term "clarinet" has been defined as an inetru- ment with a "alngle beating reed accompanied by a olylindrical tube" •1 It ia thia instrument that we have ref'erenoe to when we speak of the "clarinet". (The term "clarinet" did not come into exiatence until 1732) Without attempting to "pidgeon-hole" any of the im• portent innovations into def'inite agea, the writer will briefl7 ..••••11111111111•*****•••••••**'lt•••••••••••••••••***'****•••n• lsaoh, Curt • The B1atol'J' ot Mua1oal Inatrumenta • w.w •

....• trace some of the atepa in the evolution of the clarinet in the following ways l. Earliest ancestors of the modern clarinet. 2. Johann Christen Denner•a Contribution.

~. Recent Innovations. The origin of the clarinet is unknown. We do know that it waa used aa early as the "beginning of the thil'd milleniua B.c. in Egypt".1 The primitive clarinet ot the BSTI>tiana waa made of cane and the mouth hole was made bJ' meana of a three-aided out into the cane which formed a rectangular tongue. The fourth or uncut side permitted the tongue to vibrate due to the elasticity of the material. The tree end ot the reed waa held entirely within the players• mouth whiah allowed tor no modification of timbre or force and whioh gave the aound of the instrument one of unalter­ • ing atrength and shrillness. Very little La known about the development of the clarinet after the early Egyptian period untll toward the end or the seventeenth century. Throughout the middle ages the single beating reed appears to have been chiefly confined to the peasant tolk. These single beating reed instruments. generall7 known by their French name Chalumeaux,2 became the clarinet• (the writer uses this te%'m in the modern sense) when toward the end of the seventeenth century (possibly 1690) Jobeoo Cb£iattn Denner, at Humberg, gave them the shapes or t••••** .... *******•••••*•••••*'lt*******************••••******* lorton • Oompan7, Inc., Rew York. Rew York, 1940. 8P1ng1ll7, J • Bradtol'd • Blue Book or Style • llua1o 'rimea Oompu7. 1942. -3- oboe• with wooden tubes tuMted on a lathe and cut into several Joints, with separate bell and two keys -- one above the front holes to produce!', and another, op­

poa1te in the rear, tor~·· After this basic foundation

had been completed, Denner•e son Johann, shifted the ~· hole towal'da the top in order to facilitate over-blowing. He alao d1m1n1ahed 1ta aize so that it produced --B s•. (Denner'• eon appeara to have been doing this work about 1720). Denner•• next innovation was to pierce an "E" hole into the lengthened lower joint and cover it with a long k•J to be preaaed down by the amall finger ot the left hand. Thia bole, when overblown, produced A' (a twelfth from "E")

and tbua a oomplete aoale from "E" to~ A', and an .,,erblown acale from!' on waa seoured. It should be noted in this oon­ neot1on that -all modern clarinets are tuned in twelfths, not octavea. The clarinet la unique in this reapeot because all ot the other woodwinds are tuned in octaves and aa a result have what are known ea "octave keys". The clarinet has what ia known aa a "register key" since it produces an interval other than an octave. After these baaio keys had been added to the clarinet, its turther development appears to have been rapid. The instru­ ment, no• known by ita new name, clarinet, aoon appeared in the manuscript acore or an overture by Handel 1n his own handwriting, preaerved in the Pitswilliam Museum at Cambridge, England and oompoaed about the year 17.a. l In thie work there 1a a "con• certJino• tor two olarineta in "D". The compaa• of the clarinet

1····Oa).pln,.. ·················•*****••••••••••••••***********••······ Pranoea w• • Buropean Mu• ioal Ina trument• - P • 187. 1

part• range1 trom "A" to "n3n (actual sounds). In thoee early day• the clarinet waa frequently pitched 1n the key ot "D" rather than in "c", "B" .flat, or "A". By the middle of the eighteenth century the value ot the clarinet began to be appreciated, though 1t was often

•till aoored tor under the name "Chalumeau", by Gluck in his 11 0rpheo" and "Aloeati" (1767). The clarinet probably .first appeared 1n the Theatre in Rameau's "Zorastre" (1749), though, as the "chalwneau" it is round in Kaisers Croesus (1711), and

alao BQ!le of Teleman'• work•• Pritz or Brunawiok added the "F" sharp and "a" sharp ke7a about 1760. A aixth key, lower "C" sharp, was added to the inetrwnent b7 Stradder or Lefevre about 1789. Muller• or Paria, one ot the great olarinetieta or the nineteenth century,

ral1ed the nWllber or key• to thirteen in 1810, and about the f 7ear 1842 Klo•e, in conjunction with But.fat, remodelled the whole ayatem with rings, following the lines which Boehm had already adopted tor the !lute. Since the initial steps in the perrection of the clarinet by Johann Christen Denner, the instrument has rapidly beoome one ot the major aupports ot the orchestra. It has won an important plaoe in chamber music and its solo literature is growing eaoh year. We, of course, have re.ference to the "B" tlat soprano clarinet. The "E" !lat soprano, "E" !lat alto, and "B" flat baa• clarinet• are comparatively minor supports ot th• oroheatra and are rarely .found in chamber mua1o. The aolo literature tor the•• latter ttuoee inatl"Wllenta la very small. In later ohaptera we will brietl7 dlaouaa the role or -5- the clarinet 1n the symphony orchestra, chamber music, and also evaluate the moat a1gnif1cant aolo literature.

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CHAP'l'ER II *:.Ht**il 1111 **

Prerequiaitee for Prospective Clarinetists *******'II 1Ht**·~***********4}****•!l-***·l~*******

There are many persona who would like to study the clarinet, however, comparatively few of them have the neoeaaal"l' qualit1catione to make such a study feasible. The prospective clarinetist ahould be a "musical 11 person. Certain phya1cal aapecte ot hie personality should be aerioualy considered. In the following paragraphs the writer will diacuee in detail aome of the moat important prerequ1ait••• It an individual ia "musical", or talented.he will haves A.) An "ear" for music. , a.) A natural sense or rhythm. c.) A "reeling" for muaic in general. It has already been suggested that the prospective clarinet student should possess a detlnite talent for music. The -ear aeeme to be the moat important single constituent or this talent. In order to become a clarinetist, one must have a diacriminating ear. rr, tor example, a prospective clarinet atudent i• unable to hear that there is a different pitch between two tones, he should be discouraged from making a serious study ot the instrument. Clarinetist• frequently must "bear" certain pitches, before tbe7 are aotuall7 sounded. Placing the 1'1ngera on the proper tone hole• and key• and blowing air through the instrument -e- -7- will not result in the pitoh indicated. ~ The tollowing examples •111 illustrate some of the 1nterval1 that must be heard.

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• Th• meaaure1 marked nxn indicate large interval•• The olar1netiat must alao make minor change• in the oral cavit7, action ot the tongue, and the embouchure to insure the aoourao7 or the aeoond pitch. These changes will be di•• ouaaed in detail in a later chapter. Earlier in t:da chapter the writer referred to a

natural sense ot rhythm and a feeling for music in general as prerequiaitea tor the prospective clarinetist. These two require­ ment• are uaually included in the general term, talent. I£ a peraon i• nmuaioal", then he will have both of these oharacteristios. There was alao a reference to certain physical aspects or the pro1peotive olarinetiat•a personality. Be should give oonaiderable attention to the following. ,

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1. Lipe, teeth, tongue and general poeltion or the mouth must not deviate too far from the "normal" or average. 2. The structure or the hands should lend itself to clarinet playing. 3. The lunge should be healthy or respond to treatment. ~ There are some individual• who could never become olarinet1ata in apite or the fact that they are "musical". A competent instructor ahould be consulted by those who would like to play the clarinet before the instrument ta purchased. Be will be able to decide whether or not the clarinet ia compatable with an individual's physiological makeup. The eventual euoceae or tat lure ot a clarinetist• largel7 depends upon whether or not h& ie able to satisfy the•• general and particular qualit1oationa. Hence, they • ahould be eer1oualy considered by anyone who expects to gain eomething trom hie clarinet study •

• CHAPTJi;R III iH•OiHHHI 1111 It It

E11ential1 of Tone Production *'°***iHt****°*"'*iHt************

The tone of the clarinet la both unique and beauti­ ful. It 11 capable of expressing many shades of emotion, and Moaart, Brahm1, and Debu117 were particularly impressed with ita latent pos1ibilitie1. Other oompoaera seemed to have alao aenaed it1 beaut7. In thia chapter of the theaia the writer will discuss the prinoiple1 which underlie the production of tone. The approach to thil di1ou11ion •111 not be pedantic; hence, rigid rule1 and 1tatio terminology will be avoided. The i'ellowing point• 1eea to be thoae which warrant particular attention. l. lireathing 2. .li:mbouchure. a.) Vesoription of the two styles.

b 0 ) Poaltion of lips and the length or the moutbpieoe covered by the lips, common­ ly known as the "bite". c.) Lip Pressure - Lateral tautness of the lower lip. Technique of the "attack" (Ao ti on of the tongue commonly known as "tonguing"). 4. Reeds and Mouthpieces. 5. Vibrato. 6. Tone Control and Development. Por purposes of anal7ais it ia neoeaaary that the e1sential taotora of tone production be separated. However, integration of all the taotora must, of neoeaaity, be the ailll -10- ot the clarinetist since thlt t1nal result, a good tone, can­ not be achieved an7 other ••7•

Breathing *********

Bow a clarinetiet breathes ia very important. The kind ot tone he produces largely depends upon this factor. Over a period ot years clarinetlata. and other wind instru­ mentallat•• have round that diaphragmatic breathing is far aupel"ior to direct cheat breathing. Good tone quality. more accurate intonation, and greater endurance are more easily aooompliebed when the olarinetiet breathes ".trom the diaphram". There are man7 studmta who are con!"uaed a'-to what diaphragmatic breathing reall7 means. Actually it is the natural wa7 to breathe -- direct cheat breathing is an acquired habit. Caretul observation ot babies will reveal the fact that the7 breathe dlaphragmatically; the same observation will show that adult• also breathe trom the diaphragm when in repose. When a breath la taken dlaphragll'llltlcally, the entire abdominal wall expands -- the expanalon of this wall is proportion­ al to the amount or air taken. It should also be noted that when the lower region ot the lungs has been filled with air. the upper region will cause the familiar "chest expansion" !! the latter is alao tilled. In plqing the clarinet the upper region o.t the lunge la aeldom tilled with air because only a relatively small amount ot air la neoeaaary in order to play the instrument. Hence, ot oouree, tbe oheat ltselt will ueuall;r not expand when a breath le taken auttlolentl7 deep to pla7 the ineti-ument. The following plan '

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for breathing ia preaented as a general guide. 1. Breathe deeply (through the corner• of the mouth), filling the lower part of the lunge betore expanding the obest -­ tr that much air should be required. 2. Expell the alr ae needed -- hlg!l tones mid torte paaaagea require more ..!!.!:. preaaure or support. The example• below mbow where these principle• apply.

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In the place nw.Jtked "X" moN .!!.!.! presaul'e is need• ed to euppo?'t thoee ton•••

The Embouchure **i~•• 11 llllffll •••

The wo?'d embouchure may b& defined as the position o.f the llpe around the mouthpiece, anO tor our purpose this de.f1n1tion eeema to describe, in a general sort or way, what actually takes place. In our study it is important to know how the embouchure ' le formed alnce it la one ot the essential means by which a clal"lratlat produces the tone. Tbe?'e la no "oorreot" embouchure. The lips, teeth,

and general to:rmatlon ot the mouth vary with each ~on. Secondly a olal"1net1at may p?'oduoe a beaut11'ul tone and .form his embouohure according to certain principles while another achleYea the same result using others. An embouchure la correct ' only in the sense that it aids in the .final development o.f a good ton•• There are two distinct methods o.f .forming the embouchure.

One le by meane ot resting the upper teeth on the upper slanting part of the mouthpiece, with the lower lip drawn in slightly over the lower teeth. The other method ·- generally called the "French Smbouchure" ...... la .formed by means o.f drawing both lips in over the teeth in much the same manner that oboe players .form their embourohurea • The great majority ot American clarinet players place the uppel" teeth on the mouthpiece. Most o.f the European clarinet1eta, with the exception ot the French, also uae this method. However,

~1' ot tbe wOl'ld 'a .finest clarinet plqere are .Frenchmen and uae tbe •two•lip" a7ata or rol'lll1ng thoir enibouohlll"••• It •hould aleo 1

be noted that all players using-- one of these methods will -not have the same embouchure. One player using the French Embou­ chure, may, for example, draw the lips slightly over the teeth while another player using the same style or method may draw the lips OYer the teeth to a considerable degree. The advantages and di1adTantagel Of both methods will be discussed in detail. With the teeth on the mouthpiece the player can un­ doubtedly develop much mol'e endurance and therefore play tor much longer periods of time without becoming fatigued. He may also uae a d1tterent titting ot reed which will enable him to get somewhat more power ot tone without loas 2f_ tone quality.

one of the disadvantages of placing the teeth on the 1110uthpiece is that atuden ta are often tempted to tit-reeds that are too etltf, thinking that they will improve the tone. There seems to be a common belief that the 11 stif'.t'er" the reed, the bettel" the tone quality. This belief' is poaitvely !!.2! true. •stttt" reeds may be played with this style of embouchure al though the Neults are seldom verry good. Another disadvantage of placing the teeth on the mouthpiece, noticeable to the player only, is that hls tone seldom aounda as well to him as it does to others.

The w?i. ter knows from pe raonal experience that th1 a obaerva ti on ia well rounded. It has already been implied that with the French Embou­ chure it is doubtful that the player can develop the brute i'orce of' tone and the endurance that is possible with the teeth on the mouthpieoe. The olarineta play an important part in most orchestral mu.elo oonoei-ta and it la a great advantage ror them to be able to pla7 oontlnuoual7 for long peioiod• 01' time. While the olar1neta 1

seldom have to play as steadily nor quite ae "hard" in the orchestra as they do in the oonoert hand, endurance ia desirable here also, although in a slightly different manner. In orchestral composition• the clarinet frequently has to play long phrases and even entire movement• very softly. With the teeth on the mouth• p1eoe it ••ems eaaier to play softly these extended figures and a train•• Regardless or the advantages that the one style or embou­ ohure may have aa11>mpared to the other, it is essential that the

one leal'ned be th~l"Oughlz understood by the teacher and h!. should him1elt u1e the one be teacbea. ------~ ...... - Position of The Lipa and The "Bite" •••••••*******••••••***************

In our diaousaion of the embouchure thua far, only the general principles of eaoh method have been considered. We will now concentrate on the structure and function of the embouchure in more detail. Since the "French Embouchure" i• -not used in thil country to any gJ'eat extent and would require special study in order to analyze its potentialities, our analysis will be con­ cerned with the style of embouchure which places the teeth .2!!. lh!!. mouthpiece. It baa already been suggested that the position of the

lips around the mouthpiece and the "bite" are governed by the natural tonnation of the player 'a mouth. Some o lar1net1sta place about one third of the upper slanting part 0£ the mouthpiece 1n the mouth while others place over halt of it in the mouth. The teaoher muat be flexible in this .respect beoauae it is very danger­ oua to toroe a student to tollow a "rule" in thia phaee or ol.ar1net 1

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study. There are unfortunately many pedantic teacher• who lnslat that the embouchure must be formed accoX'd1ng to rigid rules which can never be broken. The evidence clearly indicates that there are no definite rules to follow. There are principles which must, ot necessity, be etreesed, but rigidity in this matter oan onl7 lead to bad result•. Pedants will always in­ •i•t that •this is oorrect• and that "thie ia wrong"J they fail to reapond to the findings of experimenters in the tield. There are man7 clarinet artiata in America today; perhaps no two ot them have embouchures which are identical in every respect. The WZ'iter i• reminded or a case in which a talented 70ung bo7 who ••• studying clarinet with a well known and respect­ ed teacher a1mpl7 could not develop a reasonably gooaPtone after man7 montb.8 ot intenae ettort. A little investigation revealed the tact that thia teacher would not pennit the boy to draw his lower lip back over the teeth so that it would be oomtortable for • him. After the boy waa perauaded to study under another teacher,, his tone development was very rapid. Any rule should be an -aid !2 aome ~ and hence, of ooul'se, a good t eaoher will be f'lexible in hi• approach to thi• pl'oblem.

Llp Preaaul'e ***.;;***"*****

Because both the preaaure of both the upper and lower lip1 ia an ••••ntial factor in tone pl'oduction our analyaia would be incomplete it we tailed to consider the function or thia com• ponent part. The upper lip 1• important 1n that it helpe prevent tbe air tl'O• eaoaping, and tofether w1 th the upper teeth and right ,

hand thumb it acta as a stabilizer so that the clarinet remain• atationary while playing. This downward pressure from the upper lip ahould be firm but never more than enough to aerve its purpoae. Ro great amount of pressure is required by the lower lip. The exact amount cannot, of course, be definite­ ly detel'lllined becauae it depends upon the strength of the reed,

the type ot moutbpieoe and to a leaser extent upon the kind and condition ot the instrument. For thia reason the pressure of tbs lower lip against the reed must be slightly modified each time a different reed or mouthpiece ls used in order to com­ pensate for the difference in the strength of the reed and the opening of the mouthpiece. The pressure does, however, tend to remain fairly conatant but minor change• in the preetlD.re of the lower lip against the reed are necessary if the player expects to play with a good tone and alao play 9 in tune". ' Lateral Tautness of Lower Lip *****************************

The tones .from do not respond very well if the same amount of lip pressure (lower lip} is used for them that is used for the lower ones. The instrument, mouthpiece, and reed are constructed in such a way that some form of compensation must be made in order that the higbel' tonea i-eapond easily and with s;ood tone quality and intonation. Tbel'e are ac;>me teaohera who encourage their students to use more preaaul'e from the l011Ver lip as the means or compensatio11 Thia method aeema to be very bad beoauae the reed which• more than any other taoflor, control• the production or tone ia not aa rret .,

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aa poaeible to vibrate. Moat teachers today aocept the principle that a lateral tautnesa or the lower lip ie the better method of achieving the goal, a 11 big11 tone that la "in tune" in all the regietera. When the lower lip ia atretohed, it allows the reed to vibrate to ita

fullest extent and tC/l' that reason the high tones do not sound "pinched". The clal'inetist must alwaye let the .!.!!! be the guide 1n detel"Dl1.ning the tautnees of the lip. In general the tautness is proportional to the pitch ot the tone -- the lip should stretch as muoh as possible when the extremel7 high tones are played and tba tension should be reduced fol' the lower ones•

Action of the Tongue *******111111111Ht******* •

Without the aid or the tongue very little music could be played upon the clarinet. The t'unction ot the tongue is to • start all tones, that is, a tart all tones tba t are not included

in a alurred gl'OUPe A briet description or the basic :function ot the tongue should give us a clearer picture or the principles

ot' "tonguing". It is common knowledge that extremely low-voiced instru­ ments are large and extremel7 high-voiced instruments are small. Consider the BB baas and the piccolo. Thia example shows that

the place 1n which low tones are generated must be large and the place where high tones are generated muat be small. Now, it' a ome­ thing can be done that will change the size o:f the inside of the mouth when playing clarinet, the low and high tones will be under

•ontrol w1 thout making neoeaaar,. a change in the posi t1on of the '

embouchure nor a change in the breath pre$sure. ',"'.l'he fact

that the clarinet haa a greater range th~ 1 any otihel' woodwind instrument makea thia the more necessary.

A very decided change in the ai~e pf the inai~e ot

the mouth mar be effected by means or act~on of the tongue. ' It the vowel aound ot "Ah" 1• pronounced ~t .,ill be round that the throat i• enlarged aa much aa it can f1oaat;t>ly be. The

tongue will be drawn back and down makin~ more\apace in the mouth. A little obaervatlon will reveal tfue tact that the let tel' •s• make• the oral cavity amal ler tljl•n an,. other vowel.

(Rotes •o • o• drawa the tongue turther b~o.lc in the mouth,

but oloaea the throat inatead ot opening it~) Ii' the vowel movement ot the tongue following the attack la alter_,a accord- \ ing to the note to be played, it will help materiall'Y' to control the pitoh or that note.

The Technique of the Attack ********•·················· The mouthpiece ia placed in the mouth bei'ore a breath ia taken. The teeth and l1pa are properly adjusted and then the breath la taken. The tongue la placed approximately a sixteenth ot an inch below the tlp ot the reed and the breath released at the rlg}lt preaaure to bring the volume ot tone wanted. The tone will not atart however becauae the tongue ia still against the reed and will not permit the breath to pass between it and the mouthpiece. The attack la then made b'Y' quiokl'Y' withdrawing the tongue in exactly the same manner as pronouncing one of the vowel aounda that we mentioned. It the tongue 1• in the right poa1t1on -19- near the tip of the mouthpiece, the vowel will be preceded by a movement or the tongue similar to saying the letter "Tn. For example, it a high tone is wanted the attack syllable will be "tah". There 1eema to be an overlap in the responsive qualities ot the clarinet that retlect1 much to the advantage of the player. Quite a number ot the tonea in tha lower part of the middle or clarion register, aa well aa the ao-oalled throat tones, will re1pond to either atyle or attack. In playing wide intervals it la nearly alwaya necessary to help the response by action of the tongue. When a wide ascending interval la played the tongue la to be moved aa though saying "tah - tee". If the interval ia slurred the ayllable is slurred also, as 4tah - eee". Por deaoending interval• the tongue motion is reversed. This tongue action takes place also when a .t'igure or muaio 1• played over a good part of the range of the inetru- • •nt but ln which there are no wide intervals, even i.f entirely alurred. In playing a very rapid soale in P Major, atarting w1 th the low "F" below the a ta.rt ascending to the high "F", deaoending again to low nF", the tongue starts with the "Tah" poaitlon and rises aa the aoale asoends until at "c" or "D" above the atatt, it will be in the "E" position. As the t'igure deaoends the tongue gradually assumes the original position or "tab". It the soale or figure ls played etaooato the same aotion take• place only the attaok is made tor each note.

Reeds and Mouthpieces *********************

'l'be type aril kind or mouthpieces and reeds are 1m... por•an• taotol'• 1n the production or tone. Even great clarinet '

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artiata cannot produce a beautiful tcne unless they uae an acceptable mouthpiece and reed. There are two distinct mouth­ piece facinsa, the Gennan and the French. Perhaps one could refer to embouchures too, in this manner for it 1 s easy to a ee 1lb ere each type or embouchure ia especially adapted to one or the other of the mouthpiece faoinga.

On the older, German type of mouthpiece, the facing ia open ao tar down that it cannot be played without pushing the reed toward the mouthpiece more or lesa, depending somewhat on the width of the opening at the tip. Thi• is accomplished b7 plaotng the teeth on the mouthpiece and actually biting with

tbl teeth and t~ lower lip. Obviously, the clarinetist has to de•elop oona1derabl• toughneaa in the lower lip. Pr.-ably this ia the reaaon wh7 the embouchure fo.rmed with the teeth on the moutbpieoe ia aometimea referred to as the "German Embouchutoe". It one uaea a mouthpieoe with the German facing or lay (taolns or lat or a70onJ'IDOU8 term•), it is necessary that the lower lip be located between the end ot the reed and the point at which it come• into contact with the mouthpiece. The lip le, therefore, aboYe the point ot contaot or toward the tip of the mouthpiece ti-om that place. Placing the lower lip in thia pos1 tion makes it possible to push the reed toward the facing. The Prenoh point of view dif.fered in that the point of contact wae toward the end or the reed and coincided with the poai tion or the lip. Lese prese\U'e is neoeasary with this type ot racing and toi- that reason it is well euited to the French Bmbouobure. It wa1, howe•er, quickly leamed that the French type

ot taotng oould be pla7ed admil"abl7 w1 th the teeth on the mouthpiece. ,

41-

Thie facing offered the ad\antagee of better tone quality and greater eaee and oomto!'.t; in playing aa compared to the Gel:'man facing which cauaed the tone to be ?'athel:' harsh and required a great amount ot lip preaaU?"e that the French facing became very popular in the United State• and was for many years used almoat exolua1vely. The modern trend toward jazz or "hot" clari­ net pla71ng revived t.he demand tor th• German type of facing to a great extent beoauae ot the nature ot the music. Much of the muaio 1n the jaaa idiom 11 harah to our eara, that is the pertorm­

er1 tbemael vea aeem to produoe ha rah tones and the German racing lent 1taelt to thia kind of pertormanoe. There are, of' course, manr legitimate olarinetiata who have used and are now using the Gel"lllan taoing. •

Faoing VS Embouchure ••••••••••••••••••••

It 1a important that the olar1net1at find the f'acing

beat adopted to the manner in which he forina his embouchure. It he la a beginner and has not developed a f'1rm embouchure, he muat find a well made mouthpiece •:•1th a racing generally oon­ oeded to be good and develop hia embouchure to be the require­ men t1 of that particular facing. It 1s necessary too that the beginner aeleot 1ome one better qualified than himself' to choose the mouthp1eoe. The 11ae ot the ol'al oav1t7, the length ot the teeth, and the height ot t.he root ot the mouth, all have aome etf'ect on the 102."t ot tone a player will produce and wi 11 determine fO'/:' him *•' taoing ia beat tor hie individual uae. That one pa:rtl1oular taoing 1• not acceptable to all players la best pl'oved by the faot ,

-22-

that although every major aymphony orchestra in the country has a ftne arttet on the principle chair, it is most unusual to ftnd any two or them uaing exactly the same sort of mouth­ piece. lay.

How to play a given facing can be determined to some extent by observing ita atructure. In general, the shorter the la7 the farther 1t lllU8t be placed 1n the mouth .for the moat volume md beat quallt7 ot tone. The poet t1on is a.ffeot­ ed somewhat by the amount ot opening et the exti-eme tip o.f the mouthpleoe. Those that are 1011Bwhat open at the tip are not plaoed a1 tar 1n the mouth ea other• o.f the aame length but a bit oloa_. at the tip.

More advanced player• may make a little tes~o deter­ •ine just how tar to place a mouthpiece into the mouth, to obtain the beat Nault• throughout the scale ot the instrument. Whila plqlng the lowel'•moat note• the distance the mouthpiece 1• placed 1n the mouth ta increaaed until the instrument squeaks Ol' the tone jumps to a higher tone. The mouthpieoe is then drawn back barely tar enough to permit con tl'ol o.f t heae low tones• This position wlll be col'rect tor playing the entire :range o.f the inatl'Ument. The disadvantage of the Il1'thod o.f testing the length ot mouthpiece to be placed in the mouth ("bite") is that it i• ot -no uae to the beginner. One must play well enough to know when the tone ia good and well under control. Relative to mouthpieces. there is one thing to guard against moat decidedl7. It ha• been called "mouthpiece 1nsan1t"J"" and 1• the p1t1tul habit into which aome play-era let themaelvea tall ot spending the greater part ot their lives looking tor the 1

perfect - ideal mouthpiece. They seem to be obsessed with the

ldea that U' they can juat get hold of the "right mouthpiece", all their cla!'inet playing p!'Oblema will be solved automatically. Pl&Je!'I auffe!'ing from th11 malady tey all the mouthpieces that they can lite!'al.ly •get thei!' hands on". One day they think

th91 have found the wo!'ld 1a finest mouthpiece, the next day con­ demning it a1 the wo!'ld •a wo!'at. Rather than go through all of thi1 agon7, it i1 better to adopt a good mouthpiece or stancard make that 11n•t radically open (The number• 3-5 indicate openings that arei't't extreme) at the tip and stick to it rather than to pla7 a ditferent mouthpiece ot extreme dimensions every day. 'lhe exact opening at the tip should be determined tor each clarlnet­ iat beoauae the stl'ength ot the muaolee ot the mouth.. the size ot the oral oavi t7 e to., ot each pla7er var.I. ea. Beginning a tuden ts u1uall7 uae the same mouthpiece lay, but proteaaicnala seldom "o• , Pitting Reeds ******* 1111 •II I*

In general, mouthpieoea w1 th a !.!£Y short .facing w111 require a reed that actually gauges aott in a reed gauge. Lons mouthpiece• or facings do better with stit.f reed. This la modi­ fied by the opening ot the lay at the very tip or the mouthpiece. Whether long or short, an open faclns will require a little softer l'eed than a close one o£ the same length. Tba r eaaon tor this is

that the ehcxrtel' the la7, the shorter the spring ot the reed and the moN powe ot bl'eath needed to puah it againa t the mouthpiece to eta1"11 it vibrating. Aotuall7, it is just a question 0£ leverage.

Vibrato *******

'ftl• Na101111 tflt' ualns a Yibrato are diaouaaed 1n '

Chapter VIJ hence we will be concerned with -how the vibrato is produced. There 11 -no essential difference ln the embou- chure whether or not a vibrato ls uaed. The lower .!!..e 1s the determining tactor in producing it but the embouchure remains the same. The jaw lt1elt actually produces the force which oauaea the lower teeth to apply pressure on the lower lip which in turn cauaea a pressure on the reed which reaults in a fluctuation ot the pltoh ot any given note. Most teachers uauall7 refer to the lower lli aa the determining factor in pro­ ducing the 'Tibrato because it ls in contact w1. th the reed. How­ e•er, tor pUJtpoaea ot analysia it la important that the prin­ ciple or producing the vibrato be clearly understood. 'l'h• tluotuation in the pitch of the tones, etch is the reault ot an application ot the above principle, should be ven alipt in order that the resulting aound be pleasing to the

ear. Some clarinetist• uae too much pressure on the reed,• and then relax the tenaion to such a degree that a rather o.t"f'en• aive aound ii the result. The ear muat alwaya be the guide in determining whether or not the vibrato is too "wide" or "narrow". If the vibrato la too "wide", a decided variation in the pitch ot the tonea ta heard and if it la too "narrow", it may sound aa though the player were nervoua because of the quiver that can be felt. Th• apeed ot the vibrato la a matter of individual. taste but the majority ot the clar 1net artist a who use a v1 brato ("Legitimate" clarinetists seldom use one • Thia is discussed ln Chapter VI) produoe a taliol7 fast one• Approx1ma tely .f'our •waYee• at 108 aeema to be the moat deairable. -25-

How to T6ach a Vibrato **•n••••••************

Unleea a atudent ia willing to spend many months of study on developing a vibrato, it would be better for him D,g! to at tempt to produce one. A good vibrato enhances the nab.lral beauty ot the tone and fCJl' that reason men like Benny

Goodman, Artie Shaw, And7 Fitsgerald and Buddy Di Franco, have apent much time studying and practicing the vibrato. The teacher should not begin to teach the vibrato until the atudmt hae developed a reasonably t'irm embouchure. If the muaolee ot the mouth have not had aut't'icient develop- ment, the attempt to teach a vibrato ia very dangerous. The ti~ required to develop a ti!'lll embouchure doea ot' ccltrse, ••!7 "1th each atudent. The response or the muscles or the mouth to excise, the amount ot time spent in developing those I muscle•, how the exercise• are practiced, the kind and condition ot reede, mouthpiece• and instrument• are the factors that deter­ mine the length of time that is required in order to obtain a 1'i2:'m embouchure. The principle of producing the vibrato should be ex­ plained thoroughly so that the student actually understands how it la produced. After this has been done the teacher should -em- phaail:e that there are .!l2 essential d1tf'erenoes in the embouchure 1 manner or breathing, or in the action or the tongue. The approach le exaotly the aame. 'l'he teacher abould select tones that 11• within the ohalwuau and clarion :reglatere for the beginning exercise•. The high tone• present extreme difficulty and should be omitted until the attlient has developed a reason­ abl1 good vibrato on all the tones up to and including "a". The following e.xeroiae• are example a of a tudies that oan be used during the first few lessons. These exercises should be pla)'ed with no vibrato at tirat so that the embouchure ha• an opportunit;r to "aet". Then the vibrato can be practiced thi• ftJ'• 1. Uae three waves at approx1- matel;r --- Use tour wave• at the same tempo. 2. Uae three waves on the downbeat and three on the up beat at the sa• tempo. a. The wave• must be played evenl;r at all t1mea. • 4. .Allow a bl'iet l'est period when the muaolea become fatigued. •

The e.xel'oiaes below are examples ot vibrato studies that oan be used after the student ha• had success in playing the beginning e.xeroi••• • Theae studies may be played w1 th a aliMtlt taster vibrato. It 1• important that the student remembel' tha\ the vibrato i• Yel';r clittioult to oontrolJ hence its apeed ,

should be gradually 1ncreaaed.

The teacher •hould ocnetantl7 •treas the tact• that the Tibrato 1• an orn•ent - a a1mple decoration designed to enhance the natural beauty ot the t cne • The diagram below illustrate• our meaning ot the te!'Dl "ornament".

In tigurea l and 2 it oan be aeen b7 a oompariaon that the vibrato merel7 add• a 11 ttle a omething to the natural

• tone •• it 1• an aid to it. In .tiguN 3 the vibrato le emphaalzed all ou• ~ proportion, to it• tmportanoe. The tone 1• •amall" -28-

and the "wave1" are large and d1at1notly unmusical. In actual performance the speed of the vibrato la never mathematloall7 determined - the approximate speed ia about tour waves at • No artist is ever conoe!'ned about whether he produced tour wavea on a quarter note, etc. 'l'he vibrato ii something that must be felt musically, not rigidl7 produced. Some artiat1 vary the apeed ot the vibrato ln proportion to the amount ot en otlonal tension and relax­ ation that the7 are trying to express. Schille Rivarde, the tamou1 vlolln teacher has this to say about the speed ot a vibratos •There la a good slow vibrato and a good qulok one. But in my opinion, no artlsta ab.ould elthel" allow hie • vibrato to remain .e:rmanentlz of aiy tlxed oharaoier or e unable to he p 1£1 becoming BOJ he should be able to restrain or to heighten ita nervous 1ntenaitx, in aooordance with the musical idea• he la interpreting•. • However, in developing a vibl"ato the student must, ot neoesslty, praotloe certain exeroi1ea rather l"lgidly in ordel" that the tlnal result, a good vibl"ato that la well under control, oan be attained.

Tone Control and Development ********************* .. ******

It ia extremely important that the clarinetist develop a good tone and gain control ot it throughout the entire range ot the instrument. Man7 teaohera seem to believe that th1e may • be aooompllahed by praotio1ng only .2!!.!, kind of exerolae, namely 1utam1ng tone• at only one prescribed dJUamio 1ntene1 t;y and alter- 1

-29-

ation. The general idea appears to be to begin with a ve17 soft tone inoreaaing the volume to a big forte, gradually aubaiding until the original soft tone is again reached. The writer doea not ahare th18 point ot view because unless more ia added to the routine very little is gained by 1t. The olar1netiat •imply learned to produoe a good piano attack and aoquire a oertain end\U'ance. It he has to attaok a note ot tort1aaimo, be will probably experienoe great d11'ficult7 because be baa not prepared himaelt tor this kind of attack. In addition to the routine deaoribed above, it 1a ad­ visable alao to reverse that prooedUJ"e. Even this is not enough. Tones mWlt also be auatained without variation in the degree of volume. Th97 should be PP, P, llP', F, and FF, and sua9l1ned at eaoh degree ot intensity. If the tones are selected from the entire range of the inatrument, the clarinetist oan gain a great deal ot tonal development and control by praoticing in this • mnner. Within the brlet apace ot these pages the writer hae attempted to analyse the factors ot tone production. It must be remembered though, that any separation of these factors la aupert1o1al because tone production depends on the integration ot all the tactora. Only wben they are given an equal importance can the olarinetiat expect to benet'it from a study of them. One t'aotor muat never be stressed at the expense ot the others, altbousJl there may be times when an1one ot them w111 require apeoial emphaaia. CHAPTER IV

Modern Pr1no1ple1 ot Clarinet Playing **Dll*lllllllllHHt**llllllDll****llll**

Interpretation • 11•11111111111*****

Kua1c ia ae broad aa the aoope of humanity itself. li:Te1"7 bu.an emotion tinda exprea1ion 1n mue1c, and through the pertormanoe ot muaic theae emotion• can be recreated in the listener. Tbua we aee the completion of a cycle .... a mood or an emotion captured by the composer, reproduced b)' the pel'tormance, and reflected in the anotional re.onse ot the listener. Hence, the performer must interpret the muaio with tidalit7 and understanding in order that this cycle remain unbroken and can become a living reality. • Ro aubatitute ha• aa yet been found tor tine ex• preaaion. Mechanical akill, however, cail!!.2! breathe lite and apirit into a performance. Virtuosity is not music, and trom the writer'• point or view, a aimple melody, played with warmth and teeling, i• tar better than a "display piece" replete with finger g:ymnaatica and other exhibitionistic ten.. denoiea. The theory ia plain enough -- it la practical ap.. plication that requ1rea elucidation • .An7 oompoa1t1on la, after all, an organism. It la a living, not a atatic thing. Hence, it ma7 be seen 1n a ·. •·. ditterent light and trom different angles b7 varioua inter­ preter• or even by the aame interpreter at different ti.mes. Interpretation ie, to a large extent, a mattler or emphaa1a. Every composition hae an eaaential quality which the interpretation must not betray. It takes its quality from the nature of the music 1tselt. There 1s, of courae, the poasib1lity of exaggeration in e1 ther direction •• keeping too a triotly to the not ea or stray- ing too tar away from them, but if a balance between these two extreaea ia ma1nta1ned, the l'esult will cel'tainly be desil'able. '!'here nnat alwa79 be a balano• between l'eaaon and emotion in any ot the arta -- the one should never be stressed at the expense ot the other. Aristotle discovered this fundamental truth over two thouaand 7eara ago, and it abould always be our guiding pl"lnolpl•• A detailed diaouaalon ot the 1119thode ot interpretation la not naoeaaary here baoauae they are essentially the~ame for an7 inatrwaent. Bowevel', there are certain problems associated 111. th thla tactor, that are peculiar to the claJ>inet, which do directl1 concern us. •

The Problem ot DJnamica **~*******.. ****"······ In the music wrl tten tor the clarinet, (solo, chamber, and orchestral) dynamic contrast la often required, and this presents a problem ot intonation to the majority or clarinetists. RYen under ideal cordi tlona (accurate lntona ti on largely depends upon, the humidity, temperature, condition 0£ inatrument, mouth­ pleoe and reed) th la problem la a very dlt!'ioult one to solve. SpeoiticallJ, we find a rather unusual phenomenon -- the loud.. er a clarinetlat plays, the flatter his playing· becomes, and the aotter he pla79 the aharper 1t becomea. Thia .flatness and aharp­ neaa see• to be proportional to an7 s1 ven change in the volume. -32-

Thia problem ia much more apparent in the chalumeau register than in any other, but it may oocur in any register. The art­ ist aanehow manage• to play "in tune" no matter what conditions exiat, but the amateur is aeldom very auooessful in this respect. There are no bard and fast rules that will aolve this problem. However, in playing pianissimo passages i.f the clarinet­ ist release• some ot tbt ereaaure on the reed, this sharpness can be gl"eatl7 reduoed. Should the tones that are to be played tortiaalmo be tlat, a alight increaae ot pressure will uaually pl'Ove to be helptul. The late Melvin Webster criticized this praotioe on the baaia that it waan 1 t necessary to make these minor ohangea in the embouohure p?"oviding the a lar1net1at had a good inatrument, mouthpiece and reed. He concluded tAa argument b;r aa;rtng that 11 it la a terrible habit that should be broken early". The great major1t7 ot olarlnet artiste ~ vary the pressure on the • reed in order to play pianissimo and .fortissimo passages "in tune". Thu tact 1eema to be important in any evaluation of' a the oey which would contradict what the artists, themselves, actually do. There are numerous passages in the literature t'or the clarinet that must be played pianissimo or .fortissimo. Excerpts taken rrom aome ot these pasaagea will be shown in the examples below a -33-

•• B. -- Th••• exoerpta are ve17 d1tt1oult to play -­ 'l'he7 have been called "treacheroua apota" by

8Clll9 olarioe\ artist•• (It they are played mes10-torte or torte they preaent no particuJiel" problem ot intonation.) •

(M. a. -- Theae excerpt• illustrate the reverse ot the

tira t problem.)

The Problem ot lote Duration ••••••******················ A good deal ot ocntualon exists w1 th reterenoe to tho.e ind1oat10Dll whlob atteotl the duration ot single note• or the :ranner ln which tbe7 are to be played. Following are some ot the more common rorma.

The attempt• which have been made to clarify the meaning• or tbeae varioua nsrkinge have been none too success­ tul, largel7 beoauae of the dltticult7 of making such fine diatinationa in note duration. • Pollowing are the mol'8 oommonl7 accepted interpret­ ationa of the above marking•r le) lotea 11h1oh bear no mark ot an7 kind ahould be tongued 1eparatel7 • and tbe7 should presumably receive full value. All note• embraced by the slur should be included within one "tongue group" -- the tongue arti­ culates the tirst note only, there being no further action of the tongue until the beginning ot a new slurred group or a separate note. The value of these notes 1s reduced by approximately one half and a sepa~ rate tongue attack is used to'i' each. Thi• torm suggests that the notes '·) are leas sharply detached than they­ are in example three. 5.) These notes should be play-ed with separate tongue strokes with a broad• ening empbaaia and a ver7 alight separ­ ation between not••• In praot1oe notes ao marked uauall7 receive a definite pul­ sation ot auoh length •• the beat permi ta• -35- 6.) Thl1 torm la the same as the preceding one, except that all notes are played wlth one stroke or the tongue. 7.) The acute mark implies that these notes are to be pla7ed a1 short as possible and with cone iderable torce, although the basic dynamic lndioatlon will control th• volum to aome extent. a.) Thia torm 11 not found veey often in the mua1cal notation and therefore its interpretation is somewhat of a mystery. What it 1eema to indicate is: Play the note• long, •1th a 1l 1ght aeparat ion and an lmpulae, but also short -- about hali' the value indicated.

• .. -36-

Conclusion **********

In the final analyai1 there appear to be only two variable factors in the interpretation of any composition -­ tempo and dznmnica. We had oocaaion to mention only the latter ' 1n detail in thil oha~ter since we were dealing with problem• ot interpretation that were peculiar to the clarinet. These

two tactor1 are, ot oouree, ~ 1eparable. We distinguish betwen the two only tor the purpoae ot convenience. Actually, interpretation 11 a matter of integration -- -not separation. There are oertaln elements in each composition that should be

empba111ed~ hat all aapeota ot music must be eventually inte­ grated tr ttw result ia to achieve a unity of purpose.• The acqu11ition of a reliable technique of inter­ pretation 11 dittioult principally because of the fact that • eaoh compoaitlon i• in reality a separate entity. A complete aet ot lnterpretlve devices may be perfected tor a given com­

poaitlon only to be discarded or modified radically tor another. Each new compoaltion ia a law unto itself, and while it i• tl:'lle that the same general principles apply to all like musical forms the fmphaaia varies through a range aa wide as the span of man•a creative genlua. -lfo two composers have thought the same thoughts or expressed them exactly the same way, and as a result, the per­ former la compelled to appl'oach each new interpretive problem with the adventurous spirit ot the pioneer who knows not what be may find at the end or hi• journey. There are, ot oourae, oerta1n guidepost• along thia path of discovery which should not be discarded, such as a workable knowledge ot the commonly accepted musical terms w'.uch 11 ind1apenaable if one expects to be able to inter• pret the at.ndard literature with musical understanding.

Thi• knowledge ot muaical te~a ahould, or course, however, never become an end in itaelt. It the performer has an adequate store ot tactual knowledge and artistic inspiration, he oan taoe with oontidenoe and enthuaiaam his task of making muaio live.

• • Cr.APTER V

The Clazetnet 1n the Ja11 Idiom *U******••••••O**~>**iHH>*4Ht*o!Ht

Long ut111aed 1n clua1oal mu11c, the ola!"1net ••• one ot th9 t11'8t 1netrwaent• to be aooopted by the early ja11 bmd1 ot th• South. Long betOJ'e the aaxophone and piano tound aooeptanoe, the o la!"lnet wa• aooorded a Pl'Oalnentl po11 tllon 1n the t1retl tl'lo•, otheio amall oom• btna ti on•, and tull•1l1ed ballJ'oom oNheetioaa ot New Oiolean1 at tbe tum ot tbe oentlt117 men J••• was called "J•••" and onl1 talntl7 oompaioabl• to the muelc we he.. todAJ• Prom le• Orlama alone auoh a:rtla ta •• Bame,.

Blgard 1 Jlmmle Noone 1 Johnn1 Dodd•, Ech!ond Hall 1 Lar17

8h1elda 1 Alberti llohola1, Loioen10 Tlo, Albeiot Rurbank, • George Haquetl, Sldne7 Becbet, Eddie Miller, IrYtng Faso la, Oeoioge Lewie, Omeio Simeon, Alphonae Ploon, Leon Rappolo, Plnke7 Vldacovlch, Wade Whal•J, and Sidnq Aioodln, oonstl­ tute a truly astounding lineup or aatellltea to emanate tram the sa111t olt7. When jaa& moved up the M11•1ee1pp1 to Memphis, st. I.out• and eventuall7 t.o the gl'oat northern o1t1oe, Chlcago and Rew York, the clarinet Moved •1th 1te Always lt hae pla7.. ed a coneplouo\19 part ln the act1v1t1•• ot ja&B mualo1ana. It •tlll do•••

L For purposes of convenience, we will use the term "jazz" to indicate the way in which the musical notation la interpreted by the leading jaaz orchestra and small com­ bination• and the term "legitimate" to mean the way 1n which it ia interpreted bJ the atandard lflllphony orchestra• and chmnber mua1c gl"Oup1. Actually, th11 aeema to be the real dltter.noe, between the two t1elda a1nce a close analya1a

ot the melody, harmony, oounterpo1nt, and rhythm reveal no baa1o d1tfer111oe. It 1a true that 1mprov1aat1on ia a oharacteriatlo feature ot jazz, but there are many jazz oompoa1t1ona that are entirely notated. On the other hand, the art ot 1mproviaat1on baa been aaaociated with legitimate mua1o tor oenturit•• • In order to play any instrument well, whether in the jaaz band or legitimately, one must at least knos the fundamental rules which govem the correct playing or the • instrument. However, there are certain idiomatic and technical ditterenoea between the two t1eld• that will be diaouased in oonorete detail. The oharaoteriatio• l1ated below seem to be the moat important on•••

(Synopaia) ********** Vibrato. Rwneroua "elides", up or down.

The presence of the usual meohan 00 niaed rhythmic backgrounds (associ- ated with any instrument) against which ooour many "ott-beat" melodic and chordal tigurea which are inter­ preted in a novel way. -40-

In legitimate aolo work, moat string instrument

players, v1olin1ats, violists, cellists and bassists, and also some or the woodwind pla7er1, tlutiats, oboists, and baaaoonista -uae a vibrato. However, there ian•t -one clarinet- ia~ altting on the principle ohair in any major a7111phon7 oroheatra who usea one. lh7 should this aignificant d1ffer­

enoe •~i•t' Several reasons have been advanced to explain thi• taot, two ot whioh we will oonaider. The tone of the

olarinet, \!.~aided by a vibl'ato, ia very pleasing t.o the ear and therefore no vibrato would seem neoeasa1"7. That this 18 true ia evidenced bJ the tact that all of the clarinet pass­ age• that •• bear pla19d in the varioua orchestral worka are pla1ed without an1 vibrato. Thia argument appears to .. rather weak becauae we have B2 proof that thoae same paaaages could not aound even better it theJ were pla7ed with a vibrato. The aeoond •reason•, wbloh aeelll8 to be a rather rationalization, ia that man1 ot the old-time clarinetists produced a bad vi­ brato when the1 attempted itJ hence condemned ill vibrato I It should be noted that some of the leading trumpet and trombone players in the legitimate field are now using a vibrato and that this might possibl1 suggest that some of the leading clarinetists will eventually adopt one too. Practically all clarinet players who play in the .1azz

idiom use a vibrato. They do ,!!2!1 of course, all produce the aame vibrato but there is not one clarinetist of distinction play­ ing in tbia idiom who eliminate• it. Benny Goodman. Artie Shaw, And7 Pitagerald, Budd7 Di Pranoo and Irving Fazola produce vibratos that an, from the wrl.ter'• point ot view, very pleasing to the ear. l It ls unfortunate, though, that man7 of the foremost jazz clarinet1ata do produce rather offensive vibratos. However, this does .u2l oonatitute any proof that a vibrato cannot be a direct aid in the interpretation or the musical language. In Chapter Thl'ee the principle of acquiring a vi­ brato •a• disouaaed in detailJ hence, a relation of this prinoiple to the music itself aeema to be necessary in order to make our tud7 a vital, living approach to modern clarinet pla7ing in the jazs idiom. The rules listed below are -not to be followed rigidl7, but are presented as a general guide.

1.) Uae a fast (4 waves per beat at approximately 108) vibrato that ian' t too narrow or wide. 2.) Use a vibrato on all notes that ar/11 held tor one beat or longer at approxi- matelr ea. Use no vibrato on certain optional notes. A general reeling for these places must, ot course, be cultivated. • In the example below the vibrato serves to enhance the natural beauty of the tone. The figure "X" indicates where the vibrato should be especially apparent and the figure 11 0 11 indicates the optional places where the vibrato mar be used. (N .B. Thia excerpt is not taken t:rom an au then tic jazs work, but does illustrate where the vibrato should be used) In a tul"ther anal7a1a ot the mu.a1o of this 1d1om, we find that the olar1net1ata uae numerou.a "al1dea", up~r down, aa a meana ot interpreting it. Theae "al1dea" are aome­ timea long and at other tlmea verr abort. '.l'h••• examples il­ luatra te some ot the man7 al1dea that are uaed. • •

In the tollo•ing examples the "ott-beat" tigu.rea

•N pla79d a• 1t the7 were eharpl7 "ripped ort" aome aort ot ••'••1•1 objeo\• 'lheJ are never held tor their tull•ti1me value as they are in legitimate muaio.

•

We have now lbown how sane of the chief character1st1ca ot this idiom are applied to the clarinet. The examples be• low •ill illustrate how these oharacter1atica beoome a;ynthe• a1sed. These examples are taken from some ot the best recordings

and transcriptions t~at the artists below have me.dee

L' • • • • • • Bow the Clarinet 1• Uaed 1n the Reed Sections ...... ***•••••••************ • ot Kode.rn American Dance Orcheatraa ***""***'lt* .....************••········· In man7 ot the nation'• best danoe oroheatraa, • the clarinet playa a very algniticant role. It 1• uaed in aeveral ditfel"ent way•, depending to a large extent upon the atyle that the particula.1' band features. It ia frequently uaed aa the upper voice in the reed choir. Although theae oroheatraa are not esaentiall7 jazz bands, some ot them do play interesting al'rangements that make uae ot th1a principle 11b1cb waa teatui-ed for the f'irat time b7 the late Glenn Miller. Humeroua mod1t1cat1ona of' this prinoiple have appeared in the last seven 7ears, but the oredi' tor diaoover1ng it go•• to Killer. In the example• below th9 olarlne' pla7a the n1ead• and the tone color which results from thla kind ot combination i1 both pleasing to the ear and ia an innovation in the tleld of orchestration.

The clarinet may alao be used to pla7 unison, and to a leaser extent haJ'lllOnlc, figures ae a background for a vocalist or eome other aoloiat. Fotll" •a• flat clarinets and one "a• flat baas clarinet can produce a beautiful et.feet lt the arranger uaea a little thought in scoring tor this combination. The depth and unusual tone color that results from thia quintet baa challenged the imagination of man7 ot our beat arrangers. There 1a practically no limit to the P0••1bilit1ea that the clarinet has to otter 1n the way of new and interesting tone colors. Some of the American Dance Oroheatra1 are experimenting w1 th this element and are making tl'emendoua progress• (Bo,-4 Rae burn appear• to be the leader 1n tb11 move•nt) -50-

A Final word 1111111111111••••

The o1-r1net has alway• been a favorite instrument with jazz mu11o1ana but 1t never has ola1med as many pro­ tagon11t1 a1 1t doea today. The teobn1oal fao111ty ot the current clar1net11ts tar 1urpa11e1 moat of the virtuoai ot the twent1••• Johnny Dodda, Lar!'}' Shields, Leon Rappolo, Prank Tesohmaoher -- th••• men wrought great influenoe, and trom a h1•tor1oal standpoint rank as important. But they oannot approaoh the tlex1bilit7, power and technique, even ot oontemporarie• suoh as Edmond Hall, Claranoe Hutohinrider, Albert R1oholae, Joe Maraala, Hank D'Amioo and Buster Balley. The writer'• seleotion ot ell-time clarinet artists is ;,wa Benny Goodman Artie Shaw Buddy Di Franoo Andy Fitsgerald Barna1 Blgard Irving P'aloso With a orowded and highly competitive field, this • ohoioe i• defended on the bas1• that these six men, having absorbed fully the tradition and apirit which preceded them, pushed the limits or their instrument farther than any pre­ deoeseora. Within the confine1 of highly disciplined teohn1quee, eaoh interpret• jasz with the firm hand of a master virtuoso.

-- - ....' CHAPTER VI **********

Techn1o ...... **

The tel'lll "technto•, tlben used with reterenoe to II' ,;,' pertormanoe upon a musical 1nstJ:'Ument, 1a uauallJ under­ i

stood to apply to those purely ph)'Bioal or mechanical ' "I! operations involved in manipulation of the 1nstl"Ulllent. ''I 'l'h1a oonnotat1on 1• moat oomrnonl7 accepted by those who ! • poaaeaa onl7 a aupert1o1al knowledge or mua1o and the pro• o••••• involved in 1ta production. Actuall7 it ia some• t1mea d1tt1cult to draw a tine line or d1at1nct1on between• the various element• 1n pertol"manoe, and to ear that certain or these elements are easentlall7 "technical" and that others are •non•technloal•. The payohologlcal and physical proceaaea involved in pertormanoea upon a musical instrument are essentially the &alll8 whether the emphasis la placed upon the technical or upon the interpretive element•. There can be no properly directed manipulation or the instrument without prooeaaea ot thought and reeling, and there can be no expression ot ideas or enotiona without appropriate muscular action. Hence, it must be recognized that the entire process ot playing and intePpreting i• baaed on an intePdependenoe ot .!!! the mental, •motional, and phJ'aloal phenomena. ADJ attempt to ditteP• •n,1ate between the varioua pba••• ot pertormanoe nn.iat, ot -52-

necess1ty, be regarded aa esaent1ally artificial and must be 1 I adopted only for the purpoaea of convenience. I I: Clarinetiata have encountered a type of difficulty 11 '! Which seems to fall quite naturally into the general cate­ .i ,, go17 of technique in 1ta commonl: accepted aense. Thia problem might be described more accurately aa one ot co­ ord1na t1on. Fundamentally, it reate upon the d1tf1oulty ot obtaining a uniformity ot ettect. The tongue, fingers, air preaai.re or aupport, and the embouohure must be perfectly •:rnchronised. Por want ot a better term thla problem might be referred to aa the "technic ot ooordinaticn•. There are numeroue paasagea in the orcheatral, chamber muaic, and aolo worka ot Debuaay, Ravel, Straua-r D'Indy, Hindemith, Prokot1ev, Stravinsky, Shostakovitch, M1lhaud, and other composer• 'llbich require an almost perfect coordination between the various elemsits. There are certain paasagea in Mozart, Beethoven, Shubert, Brahma, and Taohai­ kowsky Which alao make atr1ngent demands on the clarinetist. Hence, a well developed mechanical technic ls indispensable tor the performer it he expects to play the repertoire of these and other canposera. It should alao be noted that thia particular type or coordination ls the essential mean• by which the clarinetist achieves tne final result, express­ ion through music. There are numerous book• that deal apecifioally with thia problem. Among the beat that come to the writer'• attention are, Booka II, III, and IV by earl Bael'lllann, 416 Daily Studiea b7 P. Jllooepaob, Jean Jean Btudea, ltudea bf Peri•~• Some of the example• that w1 ll be shown are taken from theae book• which provide the clarinetist with Etudea, mechanical exerciaea, and other etudiea that cover practically every phase ot thi• problem. Although the clarinet ia divided into three dietinct J"egiatera, the player muat be able to egualise hie facility •o that he can play with uniform 1peed and evene•• of tone in

the Chalwneau, (low) clarion, (middle) and Argu (high) register••

j The tranaition from Ngiater to reg11ter ta alao very i•rtant. i·' !:j There •hould be no perceptible gap between the registers. All ' extended chord or scale paa1agea should sound as though they

WeJ"e ~ continuoua line of gradation. The solution ot any problem largely depends upon 'Whether or not an individual know -bow to begin. All mechanical problema involved in playing the clarinet may be gradually diminished if the student knows their source and the way 1n which to attack them. Although the embouchure and the air press­ ure or aupport are certainly very a1gn1ficant factors involved in mechanical coordination the action of the flngera and tongue ••em tar more important. Therefore tbaae two latter points will be an alyaed aeparatel7 and then together...... 8peoit1o Problem1 in P'i~erlng

'l'beN aN oertaln interval•, chord• and aoale• that ... Ye17 41ttlou1• to t1n10 rap1417 on tb.e olartnet. In general, -54- any passage written 1n a key •hiob baa a •ignatul'8 or roUl' or more sharp• or fl.a ta ia not eaa1 to exeoute. Whole tone scales, augmented triad ohorda and intervals, diminished seventh chords, and intervals, 111d varioua combinatlona or the "throat• tonea ma1 also Nsult in man1 rtn~ering problems. TeacheN sometime• tell a tudenta to practice a certa 1n paaaage "until it becomes euy tor you". It la not autficient to tell students to practice paaaagea many time•. They must be ahown how to practice. 'i'he key to good mechanical coordination ia the elimination of all lost motion. The importance of thi• principle cannot be over­ eatima ted. The following point• 1n aynopaia form seem 11 aum up thls prlnclplea l.) Move only the fingers (bands, wria ta, a:rma and body should remaln aa motionless •• poaa- 1 ble.) 2.) The r lngera should re11a1n at their respective positions above l I the ke:rs and t.one holes when not I ln uae. l 3.) The tndex tlnger of the left hand la the polnt tor a hinge-like finger movement whlch la necessary in order to obtain an even transl ti on between the registers. The fifth (little) finger of each hand operate• tour keys. It can aid or hinder a player'• teobnic, therefore it ahould receive a good deal ot attsition. -55-

In the example• below and the onea to follow, lt

is neceasury that the clar1net1at move onl7 ti. fingera that

are required 1n ordel" to change the pitch. 'l'he fingeaaa should

move approximatel7 a halt inoh to an 1nch above the keJ• and I tone holea. I : i ;

.,

.,J • ,j,

'. A clarlnet111t cannot expect to gain ver:r muob ~ • technical C01'111T!and or the lnatrument unless he la aware o.r f the ract that there are certain pr!nclplea that govern the ii

Playing or rapid passages. In our d111cuaalon thus tar, some '· auggeatlona have been made concerning this problem and we will

now deal W1 th 1 t in greater de tall. In the rollow1ng examples the index finger o.r the le.ft hand ls the important one. It should be in contact with 11 the •A and "a• sharp keys in auch a way that either key llllly

be opened by a alight rolling over motion -- approximately one .to\U'th revolution. The "A" key should be opened by the .tirat Joint and the "G" •harp key b1' the aeoond. The exact place will

•&1"7 •1th eaoh individual becauae of the atnoture or the hand, but the principle may be followed. Fa! lure to observe this rolling over of th• index finger may result ln many technical difficulties.

• In the examples below the t1tth or little finger ot each hand plaJ'B t.be most important role. Some of the .t1nger1ng probleu that ooour 1n these 1lluatrat1ona are extl"emely d1tt1cult to aolve, but constant practice on oertaln exerol••• auoh •• the following will prove helpful •

•

'l'he!'tl are several important alternate t1nger1nga

.tor oertal.D tone• which should be mentioned in connection with thl• probl• or tbs tecbnic ot coordination. Some o.t the aoat 00' a 10D are ahown ln the t'ingel"lng chart; below. • SJ?1chronia1ng the Pinger• and Tongue ··~*****AIY•*********•••aa••••••*'ll-*"P

In the pNoeding obapter the principle ot tonguing waa dlaouaaed in detail. We 11111 now relate this principle to the pl"Obl .. or oool'dinaticm.

A olarinetiat ha• to be able to •JUchl"onize the aotion ot the tongue with the action ot the t'lngera. In order to do tbla rapidl7 the pla7er must pl'aotloe certain

puaag.. 'Y81'J' caret'ull7. A reliable method la to pla7

portion• ot aoale•• obord•• and interval• many ti.mes. At'ter tbla baa been done the paaeage should be played aa a whole. Belo• ta an llluatratlon or how this method ot practicing ahould be applied. •

B.B. Where the one portion ot the paaaage end•• tbe other begi.n.. Eal"lier in this chapter it waa stated that a reaaon­ abl7 good techni• ot coordination ••• neoe•••X"Y 11" a c lar1nat- 1at u.peoted to pla7 the • tandard 1"8perto1re ot the gl"eat oompoaen. That thla la true 1• undeniable. It la• ot course• -60-

impossible to say how muoh teohnlo la !"equlred to play these worka but a b!"1et survey or what some of the moat lmpol"tant

composers have Wl'itten to!" the clarinet should abed some light on the matte!". In crde!" to play well an7 of the examples to follow, the tongue, t1nge!'8, ail" pressure or support, and the

embouc hW"e D1W1 t be synohl"onised. Howeve!", each or the ex­ amples that will be shown will emphasize one particular aspect or th1a ooord1nat1on and the aoe!"ano clarinets pitched 1n "E" !'lat, •s• tlat, and ••• are the one• that will be ueed to 1lluat!"ate theae points.

(P1nge1'1ng) ***11•••11•11

'!'he index linger or the let't hand and the 1'i.f'th• finger ot each hand are the ones that are important 1n tbe paaaagea shown belows • • In these ell!llplea rapid tonguing 1a emphasized. Theae paaaagea preaent no great fingering p:roblema other than an occaaional lntei-val.

• •

•

rt ·y . f ·65-

• -66-

A teacher may be able to save much valuable time and add materially to the accomplishments of h1a students 1! he can succeed in teaching them how to prac­ tice. Ho artist. however great his native talent, could have reached the heights ot technical proticienoy without t1rst having learned thls lesson. Methods of analysis and drill have been the basis ot the success o1' such great master-teacher• •• Simon Bell1son• and their pupils -­

Some of' the principal clarinetists or our major B)'Il!phony oroheatraa who have been compelled t'rom the veey elll"l1eat age to follow a prescribed practice regime. These artists have achieved their goals not onl7 by the amount of' prao.. tic• the7 have done, but alao by their method• or pract~ 1ng. Stud.its should practice tor results, not hoUJ"a.

~o be ot an7 value. the practice must be done on problema, not pieces. It should be the teacher's task to explain this method ot practice and to point out 1n the lesson the par­ ticular passages which should be analysed and mastered. No gre•t technical protioiency can ever be acquired by the "system• or practice usually employed, namely, "playing through• the lesson w1 th all errors 1n counting, tonguing and fingering repeated as man7 times as there are repetitiona or the assigned material. The teacher 1a charged with the reapona1b1lity of deYeloping a well-rounded mue1oian, and to accompli•h th1a

~~~~------·~ -67- he must give due empbaaia to technical growth along with other conaiderationa. Any method which will prove effect­ ive in turtbering thia aim should be emphasized.

• CHAP'l'ER VII

S1.irvey of Important Solo Clarinet Literature .... lt*iH>*****••••••••**•••••••••••••§IHt*****

The writer reels that a the•i• embracing the prinoiplea ot clarinet pla)'ing would not be complete un­ leaa a brier •UJ"Y•7 ot aome ot ita literatlll'e were made. Th• prinoiplee themeelvea have no value; it ia the application ot them that i• important. It the material

that ha• been diacueaed 1n the earlier chapters is to be an aid to eome end it lllU8t• ot neoeaait7. be related to

the muelo itself. Hence. our attention will now be ~oc~d

upon .,. or the 11 terature tor the inat~nt 1n order that our atud7 be a vital one. Clarinet literatU!"e received its initial lmpetua trom llozart who waa the fint composer ot importance to in­ clude it 1n the symphony (Paris Symphony - 1770)• chamber mualc. and alao write aolo material tor it. There were, ot cour••• other composer• before Mozart who made use of the olaPinet. but to him muat be given the credit tor writing the nrat aignltioant mualo tor the instrument. By the end ot the nineteenth centUJ7 the poai tlon ot the clarinet, as a solo instrument. was tlrml7 eatablishedJ several great concertos and aona tu had been writ ten and more were to come. Today there is much good music that has been written tor the clarinet itaelt. and.. alao some excellent transcrlptlona ot violin and viola aonatu and other works, but in ap1te ot tlb.la there ue a till man7 mualo1ana who 1na1st tha9' the 11 tar- ature for the instrument ie limited to three or to~ COJ11-

poa1 tiona. The writer once heard a well known end i-eapeoted pianist remark that "there ian•t much good solo muaic written tor the clarinet; lt ia juat a auppo,rt1ng instrument or the orcheatra•. So long aa this article' rematna the literature

' will be liaited to a handl'ul or oamp(>si tiona. Perhaps this 1• the reaaon •h:r ao man7 high acbool clal'1net1ata play the aa• OOlllpoa1t1on. -- inferior onea at that - year after year 1n the competitive teatlvala. Altho'IJ6h 1118117 or the beat aolo paaaagea for clarinet are tound 1n ch•mber mua1o and orchestral scores. our sUl'Vey •ill be oonoerned with that muaic which la written for the olarlnet alone - eolo -- because within the scope or tbfi9 obapter we can, at beat. do no more than acratoh the &Ul"­ tace ot a oomparatlvely unknown field.

Mozart'• Contribution •••••************••••

Mozart wrote the now famoua concerto tor clarinet

1n which he exploited every qualit7 of the instrument. Anton Stadler. the great clarlnetiat of the Mannheim Orches­ tra, represented the motivating force which inspired Mozart to write this concerto. It ia perhaps the best compoa1 ti on ot its kind for clarinet that na written during the classical era.

Von Weber'• Contribution ·······***·····~········ VOil Weber waa a great exponent of the al"t or wr1t1ng -70-

effect1vel1 tor the clarinet and left two Concerti. a Con­ certlno, and a Grand Duo Concertante for clarinet and piano­

forte which la cona1dered by many the greatest "show piece• or the entire reps rtorr ot the clarinet. In each of Von Weber'• compoaitiona the clarinetist is afforded an opportunity to demonstrate great technical proficiency and evidence of muaio1anahip. Von Weber waa incited to activity by the great clarinet virtuoao B. J. Barmann.

Loula Spohr'• Contribution ·~························

Loula Spohr wrote four concerto• fc:JI' clarinet ( 1n C minor. B Major, P and B minor) 1n whloh the greatest aeoompllabmenta aa to musical underatanding. expression. •tntex- pretation and technical p!'Oficiency are demanded fl"Olll the play- er. He alao wrote three aborter concert pieces. several vari­ ation•, a potpourri Op. BO, and a Pbantasia Op. Bl. Spohr'• achievements in this particular branch of composition were

fully appreciated and practically demonstrated, not only by auch prominent clarinetists as c. A. Oopert, J. o. H. Backofer. H. J. Baermann and Ivan Muller. but also by the greatest clarinet player of hl• time, John Sim. Hermatedt of Langeneal.ga.

Brahma' Contribution *'It*••••***•••·······

Brahma wrote two soni..ta3 .:or clarinet. one 1n •p• minor• opus 120 Ho. 1, and the other in •s• .flat Major. opus 120 •o. 2. It 1• aald that Brahma waa ao impreaaed by the olarlnet playing ot Riobard Jluhlrel4, the greatest exponent -71-

of the inatt'waent during the late nineteenth centUJ"y, that he wrote these two sonatas aa a tribute to him. or the two aona taa, the 11 E" tla t Maj or is t be more popular. Both sonata• are, however, musical maaterpieoea and seem to have been conceived not onl7 aa vehicle• for the 1nstrUJll8nt but alao •• deepl7 moving .:>rka or art.

Debuaa7•a Contribution •••••u1111111111e11111

Claude Debwia7 wrote a Rhapsod7 tor clarinet and orcheatra and a 11 L1ttle Piece• tor clarinet and pianoforte. The Rhapaod7 i• one ot the finest compoa1 t1ona that Debussy wote and it baa beo~ ver,. popular with American clarinet- 1ata 1n the laat few ,-eara. • ...... Contr1bu\1ona ot Other Composers ...... French

Saint Saens - Sonata Le Boucher - nallade in D minor Le Febvre - Fantaa1e Caprice Moreau - Legende Vi!"andolle - sonatina ?A1lhaud - Concerto Jf1verd - Piece Romantique

Hindemith - Sonata Weinberger - Sonatlne Bu:rgmuller - Due tor Clarinet and Plano Rlets - Concerto -72-

Contr1but1ona of Other Composers (Cont'd.) ***~;}************************************

Ruaa1an •••••••

Strav1nakJ' - 3 Pieces StarokodowakJ' - 5 Pieces lrein - Nocturne Perm1nov - Ballade Rl.maky Koraakott - Sonata

...... Italian

Buaonl - Concertina Cavall1n1 - Adagio E Tarantella • Conclusion **;p.i-**•• ••

Thia brier survey represents only a segment or the available solo literature for the clarinet. To- day• more than eYer before• mwsioisns are becoming aware ot the literature that has been written for the clarinet which baa now aaaumed an importance so great that nearly all ot the tirat rank compoaer• have either written solo material tor it or included it in other worka. Each season new clarinet work• appear as well as more artists to perform ti... Just a• the tonal volume and character or the lnstru- ment have made lt 1ndiapenaable to our oroheatraa. these ve17 qualitlea placed it 1n a roremoat position tor solo perto:rmanc••• and pemapa, not in the too dlatant future, • a clarinet aolo1at making an appearance w1 th a major •J111Phony oroheatra. or playing in a recital. will be aa common aa a piano or violin aololat.

_.,a-

' BIBLIOGRAPHY ************

Books •••••

1. Sacha. CUl-t - 'l'he Hiato17 ot Jluaical Inat1"Ulnenta - •· w. Kor'on and Compan:r. Inc. Bew York. B. Y. 19f0 - 2. Pengell7• J. Bradtord - Blue Book or Style - lluaio Tlmee Compan7. Chicago. Illinois. 1942 - a. Galpin• Pranola W. - European Musical Instrumente • B.P.D. Ton and Compan7. Inc •• Bew York• R. Y. 193'7. 4. Sobwats H. W. • The Sto17 or Mnaical Instruments • Doubleda7. Doran and Compan7, Inc. Garden City, lew York - 1918 - 5. RlnulkJ' - Xoraakott, lloholae - Principles ot Orobeatratlon - •

Dictionaries and Bno;rclopedias ·············•••***•••••••••**

1. Grove• D1ctionar;r or iru.10 and Musicians - Vol. I - Third EC1t1on - MacMillan Compan.,.• Kew York - 1935 - 2. 'l'be International C7olopedia or Music and Mua1c1ana - Edited bJ' Oscar 'l'hompson - Dodd• Mead and Company. le• York - 1939. 3. The O.x.tord Companion to Music - Scholes. Pero;r A. - O.x.tord University Presa - London. New York. Tol'Onto - 1943. 4. A Direoto!"J' 0£ Clarinet Muaio - Foster. Levin• Wilson - First Edition - Printed by A. B. Johnson and Son - Pittatield• Kaas. - 1940 -

Instruction Booka •••••••••••••••••

1. Carl Bae..-nn Method - Re•laed bJ' Guatave Langenua - _., .. J. -75- l. Published by Carl Fischer - B. Y. 2. Klose Method. z. Paul Jeanjean Etudes. 4. Kroepch 416 Daily Studiea. 6. Artie Shaw Clarinet Method - Published by Robbins Jiu.tic Corporation, Hew York, R. Y. - 1941 - 6. Benny Goodman Clarinet Method - Publiehed by Regent llualo Corporation, 1619 Bl'oadway, N. Y. N. Y. - 1941 -

Article• and Phamphleta ...*+*****llR••·~·······

1. ••bater, llelvln J. - llaaterlng The llOdern Cla rlnet - B. s. Sel.nt_. Compan7, Elkart, Indiana - 1938 - 2. Bone, Hadley - Monthly Column - School Musician - 230 Borth Wabaah Avenue, Chicago, Illinois - 1937 • •