Max McKee Scott McKee Paul Kassulke Executive Editor Assistant Editor Assistant Editor (541) 840-4888 (541) 778-4880 (541) 778-3161 Visit us @ www.bandworld.org Another Bandworld Presentation Bandworld Magazine A Beginner’s Approach to the Licorice Stick Karla K. Killinger ABC Practical Application #2 August 2006 A Beginner’s Approach to the Licorice Stick History of the Clarinet Th e clarinet dates back to the 1600s, to an instrument called the chalumeau (possibly French in origin). Th e chalumeau was a cane pipe measuring about nine inches long. It had seven holes, including a thumb hole, and a range of not much more than an octave. Its range was low and limited. Th e low range on the modern clarinet continues to be named for the chalumeau. Sometime in the 1700s, a German woodwind maker named Johann Denner improved the chalumeau and invented the early clarinet. Two keys were added to expand the range by giving it an upper register. Denner may have also given it a separate mouthpiece and reed. By 1750 the clarinet’s body had taken the basic shape we see today. By the 1820s clarinets had 12 to 13 keys and in 1850 the Boehm key system had been introduced. Th is key work system was currently being used on the fl ute and eliminated some very diffi cult fi ngerings. Th e Boehm system placed each hole so that each note would have the same tone quality and made a key system to cover all of the holes. It was a success and became popular around the world, replacing the Albert system which is still used in some parts of Europe. Th e Albert system is a complex auxiliary keywork that gives a deeper tone and is favored in German-speaking countries. In the mid to late 1700s, composers had begun writing musical pieces specifi cally for the clarinet. In the 1800s, the instrument became much more prominent and large volumes of music were written for it in the early 1900s. Th ere are currently three types of clarinets in use in the world today, the soprano, alto, and bass clarinets. Th ere are also two variations on the alto and bass clarinet, the contra alto and contra bass. All of the types of the clarinet are included in symphony, chamber orchestras, concert band, and small ensembles. Th e clarinet is known for its warm full sound. Ab Soprano Bb Contrabass Eb Soprano C Soprano Bb Soprano Eb Contralto A Soprano F Basset Horn (withwith extended F Basset Horn range to C) Bb Bass Eb Alto 8 Karla K. Killinger The Clarinet Family English Italian French German Spanish Clarinet Clarinetto Clarinette Klarinette Clarinete As Written Concert Pitches Ab Soprano m6 higher Eb Soprano m3 higher C Soprano Sounds as written Bb Soprano M2 lower A Soprano m3 lower Eb Alto M6 lower F Basset Horn P5 lower Bb Bass M9 lower Eb Contralto M6+8 lower Bb Contrabass M9+8 lower 9 Karla K. Killinger Let’s Get Started One of the fi rst requirements for acceptable performance on the clarinet is good equipment, including the instrument, the mouthpiece and the reed. Th e beginner’s instrument does not need to be professional quality, but it must be in well tuned working condition. Inferior equipment will only discourage a beginning player. Th e second requirement to success will be good AIR support. Proper breathing technique must be learned from the onset of instruction. AIR. AIR. AIR. Always play with great AIR support. Th e third requirement to success will be to learn the fi ngerings and concepts for correct note production. Th ese fi ngerings remain the same for every instrument in the clarinet family. Learn one and you learn them all. Th e clarinet is a transposing instrument. To produce the same pitch that the piano plays, the clarinet must play one step higher. In other words, a Bb on the piano is played as a C on the clarinet. Th e transposition on the clarinet (Bb soprano and bass clarinet) is the same for the tenor sax and trumpet. Mouthpiece A good mouthpiece is very important. Hard rubber, glass and plastic are used in the construction of most clarinet mouthpieces today. Th e basic design is more important than the material. If in question about mouthpieces, a student should try out diff erent models before purchasing one. School ownership of several mouthpieces is helpful for students to try. Some of the most popular brands of mouthpieces are Vandoren, Selmer Paris, Pyne, Bay, Garrett, Hite, Leblanc, and Pomarico. Ligature Th e ligature is a band of metal, plastic, or rubber that holds the reed in place on the mouthpiece. It is placed fi rmly, but not too tight as to stop the reed from vibrating. Th e ligature can ruin reed response and reed life by pinching the cane on the sides. Free vibration of the reed can be lost. Match the ligature to the mouthpiece so that the inside edges of the bands nearly meet. Some of the most popular brands of ligature are Vandoren, Bonade, Bay, and BG. Reeds Like people, no two reeds are alike. Th e player must be willing to accept constant change and make appropriate adjustments. Th e reed as well as the player is in constant change with lip pressure and various other body tensions. Students should purchase more than one reed at a time; four would be good but a box of 25 is better. A too soft reed will not permit the proper clarinet embouchure. A student can begin on a 2 ½ hardness reed, moving to a 3 or 3 ½ as soon as their ability will allow. Th e top selling reeds areMitchell Lurie, Vandoren, LaVoz, and Rico Royals. 11 A Beginner’s Approach to the Licorice Stick Reed Placement Proper reed alignment on the mouthpiece and the tightness of the ligature are very important. If a reed is placed too high or low it will not be able to vibrate correctly. If a ligature is too tight the reed will not respond and will warp, and if it is too loose it will slide around. Before blowing the fi rst tones on the mouthpiece, we must fi rst place the reed correctly on the mouthpiece. 1. Place the reed in your mouth and begin to soak it with saliva. 2. With a fi rm twisting motion place the mouthpiece on the barrel. 3. Slide the ligature loosely on the mouthpiece. 4. Slip the thick end of the moistened reed under the ligature from above, locating the tip of the reed almost even with the tip of the mouthpiece. A very, very thin line of black should show. 5. Tighten the screws of the ligature. Embouchure Embouchure is the lip and surrounding facial muscles required in playing the clarinet with success. A faulty embouchure will result in playing problems. Steps to forming a correct embouchure for the clarinet by using the barrel, mouthpiece, reed, and ligature: Say “Q” to bring the Roll the bottom lip top lip forward and in overover thethe bottombottom of thethe slightlyslightly asas ifif surroundingsurrounding teeth.teeth. PlacePlace thethe reedreed a cigarcigar oror llargearge straw.straw. aboutabout ½ inchinch intointo youryour KeepKeep tighttight corners,corners, mouth,mouth, usingusing thethe bottombottom fl atat chin,chin, toptop teethteeth liplip asas a pillowpillow forfor thethe onon mouthpiece,mou3thpiece, andand 1 bottom lip covers the mouthpiece. bottom teeth. Blow air through the mouthpiece. Th e pitch should be a top line F#. A tuner should be used SaySay anan exaggeratedexaggerated forfor properproper pitch.pitch. IIff thethe “A”“A” to tightentighten thethe pitchpitch isis fl at,at, increaseincrease cornerscorners of youryour lipslips airair pressure,pressure, andand ifif iitt andand fl attenatten thethe chin.chin. isis sharp,sharp, decreasedecrease airair 2 pressure.4 When a good sound is produced, then it is time to assemble the clarinet. 12 Karla K. Killinger Assembly of the Instrument Careful preparation used in assembling the instrument will avoid damage to the mechanism. A sticker placed on the top side of the clarinet case will insure that the case will always be opened correctly. Th e cork joints should be lubricated with a small amount of cork grease before the instrument is fi rst assembled. Reeds Silk Swab Lower Joint Cork Grease Bell Mouthpiece Barrel Upper Joint Clarinet specialists each have their individual preferences to putting the clarinet together. Care must be taken not to grasp the key work as to cause any damage to the rods. To assemble the clarinet: PlacePlace thethe barrelbarrel onon thethe upperupper PlacePlace thethe bellbell onon thethe lowerlower jointjoint jointjoint withw1ith a turningturning motion.motion. inin thethe samesame2 manner.manner. Put the upper and lower joints together.together. ToTo avoidavoid jjammingamming of thethe connectingconnecting mechanismmechanism (bridge(bridge oror TurnTurn thethe mouthpiecemouthpiece intointo thethe lap),lap), closeclose thethe D-RingD-Ring (2nd(2nd fromfrom thethe barrel-joint.barrel-joint. top)top) asas thethe tenontenon of ththee upperupper jointjoint isis insertedinserted inin thethe3 receiverreceiver of thethe lowerlower 4 with a slight turning motion SlideSlide thethe moistenedmoistened reedreed underunder PlacePlace thethe ligatureligature inin place.place. 5 thethe lligature.igature.6 13 A Beginner’s Approach to the Licorice Stick Hand Position A good hand position permits rapid execution of any note with minimum motion. Early attention to location and angle of the thumbs and index fi ngers will aid in easy movement of the fi ngers. Right Hand - Lower Joint Th e weight of the instrument is supported mainly by the right thumb. Th e side of the thumb touches the thumb rest near the base of the thumb nail.