Instant help for Playing and Teaching

The Clarinet

A fast-find reference, self-help book for clarinet students and teachers

by Leslie Craven A.R.C.M. hons.

PRINCIPAL CLARINETTIST ORCHESTRA OF WELSH NATIONAL OPERA

www.lesliecraven.co.uk 1 Instant Help for Playing and Teaching the Clarinet by Leslie Craven

Foreword The intention of this book is to help students of clarinet and in particular, trainee teachers. In today’s economic climate many unitary authorities prefer to employ musicians who are multi-instrumentalists, engaged to teach many woodwind instruments, hence not all peripatetic teachers of clarinet are “first study” clarinettists. This can lead to the situation where a flautist, bassoonist, or oboist is obliged to offer clarinet tuition. It would be unrealistic, and indeed unfair to expect non-specialist clarinettists to diagnose and offer remedies to the myriad problems posed by teaching the clarinet. It has taken me over 40 years to accumulate the knowledge of my instrument to be able to teach it to a level of proficiency to produce high-calibre students. During years of professional playing and teaching, I have given a great deal of thought and analysis to both teaching and playing. I would find it very difficult to teach the other woodwinds, and this thought prompted me to write a book in which many difficult areas of teaching are addressed as concisely as possible. I hope that those prospective teachers and currently practising peripatetic teachers, who read this book, find the solutions to the teaching problems, concise, clear, and easy to understand and convey to the pupil. There are numerous comprehensive clarinet-teaching manuals but I have discovered that too much information can be as much a problem as too little. I have tried to keep this book simple and easy to understand. No doubt, some clarinettists would prefer it to be more “in-depth”. In reply to those people, who would like much more detail, I suggest you read Tom Ridenour’s excellent book (mentioned later). I know some people who would be completely nonplussed by too many facts, figures, and analyses. It is sometimes more useful for the novice driver to know the type of fuel to use in the car and how to start and stop it. I fully appreciate that on the other hand a formula one racing driver would find the frequency and order of piston movements, the gear ratios, brake horse power, and the kinetic energy lost during braking, of great interest. I trust this makes my point. In addition to wishing to offer help to the general peripatetic community, I felt the need to share my experience with my students, so that a record of some of my teaching methods can be of help to those who wish to adopt them. I would like at this point, to acknowledge my late parents who worked very hard to pay for all my clarinets and necessary equipment and my brothers and sister for putting up with my incessant practising as a child. I was lucky to have had teachers of the highest calibre, David Gordon, Christopher Ball, (Royal Academy of Music Junior Dept) and Sidney Fell, (professor at the Royal College, former principal clarinettist of the London Symphony Orchestra and pupil of the great Frederick Thurston). All of my teachers would devote hours to one small but important aspect of a musical idea or technique, had enormous patience, and gave much encouragement. It was they who opened my eyes to some of the different applications of teaching method and helped me to recognise that most good teachers say and do the same things, albeit often in completely different styles.

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In recent years, I have been encouraged and supported by Andrew Roberts a fine player, teacher and friend. It was his desire to take the instrument to its highest level that inspired me to write this book. I also need to thank Alistair Logan another fine player and friend who recently published Music@Site a brilliant sight-reading, theory and aural training educational tool for musicians of all ages. I would also like to acknowledge the time spent giving excellent advice, and proof-reading, from colleague Peter Fielding (Bass Clarinettist of W.N.O.) and Christopher Bolton (a pupil of mine, wine enthusiast and fellow cricket fanatic). Many thanks to clarinettist friend Javier Defez Requena (I originally met Javier on the Clarinet Summer School in Liverpool where he played to me in master classes) for allowing me to publish his reed making method in this book. Javier is currently translating this book into Spanish. He currently teaches in The Conservatorio Jesus de Monasterio in Santander Spain. Javier kindly taught me the authentic method of cooking Paella Valenciana, (when he came to my fiftieth birthday party) thanks to his mother who taught him this wonderful dish. Javier lives in Camporrobles, Spain, a beautiful village in the mountains above Valencia. Thanks also to Eddie Ashton of Woodwind & Co, John Parkinson of John Packer LTD., and Kerry Long of Vandoren U.K. for their support and co-operation in sponsoring various events and projects I am involved in and for their encouragement. Finally, grateful thanks to Thomas Ridenour, who has written several books and articles about teaching, playing and related clarinet topics such as reed adjusting and fingerings. I recommend his book “The Educators Guide to the Clarinet” wholeheartedly. Tom has been most generous in allowing part of his “A.T.G.” Universal Single Reed Finishing System to be reproduced in this book. To write a treatise on clarinet playing requires calling upon the accumulated experience and shared knowledge of many great players and teachers. Tom believes (as I do) that we teachers have a duty to share information with the clarinet community, without generous people such as Tom the clarinet fraternity would be considerably poorer. Similarity with some other authors’ material is inevitable; ultimately there are a limited number of ways to teach certain techniques correctly. I hope my views on teaching meet with approval from professional players, pedagogues, prospective teachers, and students. The clarinet is a truly beautiful instrument and deserves the wholehearted desire to master all its facets. To attempt to write a book without the support of family would be impossible. I owe my wife Chris and my three daughters thanks and apologies for being "chained" to the computer, it is only with the help from Chris that I was able to eventually finish my project, as far as any book about the clarinet can be deemed finished. In my experience it is like recording, once you have completed it you always find new and better ways of doing things. To those teachers and players this book is intended to help, I sincerely hope it enables you to pass on the great legacy of pedagogy which I was privileged to absorb from my teachers, their teachers and other great players. My next book could be about Paella making for beginners. Leslie Craven. Monmouth May 2003 The Author accepts no liability for physical (or mental) injury or any adverse effects caused by the application of techniques, exercises, or methods found in this book. Copyright belongs to the Author and reproduction of any part of this book by means such as photocopying or photography of any kind is illegal.

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THE AUTHOR Leslie Craven began lessons aged seven and won a junior exhibition to the Royal Academy of Music aged ten and later an exhibition whilst studying at the Royal College of Music. He has played guest principal clarinet with most of Britain's major orchestras (including by special invitation the LPO at the age of eleven) and was Principal Clarinettist with the Royal Philharmonic Pops orchestra for many years. Whilst a freelance Principal player in London he performed in concerts and recordings as guest principal clarinet with the R.P.O., PHILHARMONIA, L.S.O., LONDON MUSICI and the B.B.C. CONCERT ORCHESTRA. In 1993 he was invited to join the Orchestra of Welsh National Opera. He currently teaches at the Royal Welsh College of Music and Drama in both the junior and senior departments and is in demand as a recording artist, teacher, examiner and clinician, giving master classes throughout Britain and overseas. Recently his pupils have won places in the National youth Orchestras of Great Britain and the N.Y.O. of Wales and in the National Children’s Orchestra as well as scholarships to Cambridge University. He has examined at all levels internationally and was clarinet advisor on the audition panel for the new Seville Symphony Orchestra in Spain when it was first formed. His pupils range from beginners to “Masters” students. Leslie also gives consultations to fellow professionals for troubleshooting problems, and in particular for orchestral audition preparation. His solo performances on television include; the “Fantasia” on themes from “La Traviata” (for the SABC) and in U.K. the Mozart clarinet Concerto and the Basset clarinet obbligato in the aria “Parto, Parto” from Mozart’s “Clemenza da Tito” with “Singer of the world” Katerina Karneus and conductor Sir Charles Mackerras (for HTV and BBC). Leslie has a web site www.LeslieCraven.co.uk that tells you more about his work and career. The site has links to many other sites and a guest book where you can contact him direct and there is a forum for clarinet related questions. Leslie gives clinics, and master classes in performance, as well as individual lessons each year on the Clarinet Summer School in Liverpool. www.theclarinet.co.uk During the period 1975 - 1986, he was principal Clarinettist of the Cape Performing Arts Board Opera company, clarinet tutor and head of winds at the South African College of Music in Cape Town. One of his pupils in U.C.T. won the “SASOL” prize an international competition open to all instrumentalists. Leslie formed a multi-racial Symphonic Wind orchestra at the U.C.T., which won numerous prizes and broadcast for radio. In the capacity of solo recording artist, he broadcast most of the major works for clarinet and piano for the South African Broadcasting Corporation. One notable recording, the world premier broadcast of the Suite for clarinet and piano by Priaulx Rainier was nominated for a radio broadcasting award. (This was highly controversial as Priaulx Rainier was in exile at the time, in protest against the oppressive regime of Apartheid). Leslie returned to U.K. in 1986. In commercial studios in U.K., he has played for numerous TV series and major films including; “The Wicker Man,” “Howard’s End”, “House of Eliott”, “Soldier Soldier,” “The Pope Must Die”, “Mickey Blue eyes” and many more. He also recorded with Rod Stewart, The Pet Shop Boys, Cilla Black, Michael Ball, and Michael Crawford and on many West End Show cast albums and compilations including “Aspects of Love” and “Jesus Christ Superstar”. In addition, he was highly sought after to record commercials for TV, often in a solo role.

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CONTENTS

INTRODUCTION 1,2 THE AUTHOR 3

SECTION 1 : EQUIPMENT AND MAINTENANC E 6

THE INSTRUMENT, BASIC MAINTENANCE AND EMERGENCY REPAIR 6 MAINTENANCE CONTINUED, THE MOUSE 7 MY SUGGESTED EMERGENCY KIT 8 LEAKS - AIR ESCAPING VIA PADS, VACUUM TESTING 9 THE CIGARETTE PAPER/ CASSETTE TAPE TEST 9 P.T.F.E. TAPE EMERGENCY REPAIR 10 MAINTENANCE OF KEY MECHANISM, A SUITABLE MOUTHPIECE 11 A MOUTHPIECE IN SEE - THROUGH SECTIONS 12 BARRELS AND BELLS, SOUND CONCEPT 13 ESTABLISH YOUR SOUND IDENTITY, RECORD YOUR SOUND, CARRY A 14 SPARE MOUTHPIECE VIIBRATO, FOCUS IN THE SOUND, LEARN FROM OTHER SCHOOLS OF 15 PLAYING REEDS AND REED ADJUSTING, THE SIDE TO SIDE TEST, BALANCING 16 TRADITIONAL REED ADJUSTMENTS, HYGIENE 17 DIRECTION OF CANE REMOVAL WITH A BLADE OR ABRASIVE PAPER 18 TOM RIDENOUR'S UNIVERSAL A.T.G. REED FINISHING SYSTEM 19 JAVIER DEFEZ REQUENA'S REED MAKING METHOD 20 REED MAKING CONTINUED, POSITION OF HANDS 21 REED MAKING CONTINUED 22 REED MAKING CONTINUED, FURTHER REEDING! 23 LIGATURES 24 LIGATURES CONTINUED 25

SECTION 2 : TEACHING (AND TEACHING 26 ACCESSORIES)

FIRST LESSONS - FOR TEACHING BEGINNERS, CREATE A TEACHING 27 SYSTEM FIRST LESSONS, PARENTAL SUPPORT, A LITTLE PSYCHOLOGY 28 WE TEACHERS SOMETIMES TRY TOO HARD, SUPPORTING THE CLARINET, 29 CORRECT POSTURE SITTING POSTURE, CORRECT PLAYING POSTURE 30 POSTURE CONTINUED, HAND POSITIONS 31 HAND POSITIONS CONTINUED 32 5

(SECTION 2 CONTINUED) 33 CORRECT FINGER MOVEMENTS THUMB RESTS 34 GRIPPING THE CLARINET TOO HARD, SLINGS, POOR NOTE RECOGNITION, 35 INABILITY TO LEARN RHYTHMS MUSIC @ SITE, SHARED KNOWLEDGE, INTONATION 36 SPEAKER TUBES, UNDERCUTTING, PADDING, SUPERPADS 37 TEACHING TIPS 38

SECTION 3 39

USE A VIDEO CAMERA TO MONITOR EMBOUCHURE 40, 41 DIAGRAM 1. INCORRECT EMBOUCHURE 42 DIAGRAM 2. CORRECT EMBOUCHURE 43 CORRECTING A BADLY FORMED EMBOUCHURE 43 OPENING THE MOUTH TOO FAR TO INHALE CAN CAUSE BITING 45 DIRECTION OF PRESSURE EXERTED BY FACE MUSCLES 46 BLOWING 47 INTONATION IS GOVERNED BY MANY VARIABLES 48 SCALES AND ARPEGGIOS ARE THE BEST TUNING AID 49 THROAT NOTES 50 RESONANCE FINGERINGS 51 ARTICULATION 52 ARTICULATION CONTINUED, PRACTISE WITH THE MOUTHPIECE 53 STACCATO STUDIES 54, 55 NERVES 56 MEMORY 57 PERFORMANCE CHECKLIST 58 A BRIEF DESCRIPTION OF SOME ADVANCED TECHNIQUES 59 USING HARMONICS TO FACILITATE THE HIGHEST (ALTISSIMO) REGISTER 60 ELEMENTARY HARMONICS 61 THE ADVANCED HARMONICS EXERCISE 62 ADVANCED HARMONICS 63 A WARM-UP THAT EXERCISES AS MANY TECHNIQU ES AS POSSIBLE 64 CHROMATIC STUDIES 65 QUESTIONS TO ASK IN LECTURES etc. 66 CONCLUSION 67 RECOMMENDED READING, SPECIAL OFFERS FOR READERS 68 PAELLA MAKING - JAVIER'S RECIPE 69 PAELLA CONTINUED 70 INTRODUCTORY OFFER COUPON 71

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SECTION 1 - Equipment and maintenance Clarinets, Mouthpieces, Barrels, Bells, Reeds and Ligatures.

Problems with instruments and mouthpieces are often the most frustrating for teacher and pupil. Some teaching authorities in U.K. have a system that enables pupils to buy instruments via the school ex -V.A.T. and saves a considerable amount of money for parents. Many reputable instrument suppliers will offer to cooperate with parents and arrange the purchase to be ex -V.A.T. provided the school have an arrangement with the relevant education authority. If you are not familiar with the process of purchasing good student clarinets, do not hesitate to consult an experienced professional player or specialist teacher of clarinet. Most professionals are willing to offer advice on the makes, different models, and suppliers of instruments. Instruments that come straight from the factory may need to be “set up” by a reliable repair technician to ensure optimum performance. It is worth paying a little extra for this - some suppliers set instruments up as part of the service to the customer. A repair technician will check the instrument is sealing correctly and has no leaking pads, adjust the spring tensions if necessary, adjust key/hole clearance to avoid buzzing, muffled or unclear sounds and make sure the tenon-corks are neither too loose nor too tight (see section relating to maintenance and emergency repairs).The key mechanisms should be as silent as possible, no clicks, or extraneous noise. It is a good idea to explain to the beginner the necessity to grease the cork joints of the instrument and mouthpiece using quality grease. There are many on the market. I use Selmer tuning slide and cork grease which is very effective, but if you use it – use sparingly and read the instructions, it can be fatal if swallowed! Another excellent grease is “La Tromba” available from many good wind suppliers. Poor quality grease (often supplied with a new instrument!) can cause binding of the joints if a residue is allowed to accumulate. One caveat regarding cork grease - too much can cause as many problems as too little. Make sure you or your pupils wash hands after using cork grease – if accidentally rubbed into the eyes, most grease will be an irritant.

Basic Maintenance and emergency repairs

From time to time teachers are expected to be able to carry out emergency repairs for pupils. If your pupils are young children it is advisable to speak to the parent(s) first if you have to undertake any work that requires more than tightening screws or simple adjustment. Major jobs need to be dealt with by a suitable expert in clarinet repair. If you are unable to dismantle and reassemble the instrument with confidence then it is best to leave all maintenance work to a specialist. Always consult a professional if you are unsure whom to recommend. At the end of this book I offer a list of reputable dealers and clarinet repair technicians I recommend who are among the best in the U.K. (Non inclusion in this list does not imply that people excluded are unqualified to repair instruments.) Dust particles can accumulate in tone holes and absorb water; hence as a professional I keep my instrument clean and recommend my pupils do the same. Dirty hands and tiny food particles can cause a build up of detritus in the tone holes and in the mouthpiece. At the risk of sounding pedantic, advise pupils always to wash hands and brush their teeth after eating and before playing. Instilling a sense of cleanliness and hygiene in the student clarinettist is good long-term practice.

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(Maintenance continued)

I have cleaned many speaker tubes and “throat note” tone holes (using pipe cleaners or a matchstick) that have caused the clarinet to sound muffled and completely out of tune. I use a mini vacuum cleaner designed for cleaning computer keyboards etc., and regularly use the brush attachment to remove dust and debris which can accumulate and attract water to tone holes causing ugly gurgles during those pianissimo passages! It is not a good idea to leave the clarinet out on a “stand” overnight after practice sessions. Encourage pupils to swab the clarinet through regularly during playing sessions to eliminate excess moisture. Water finds its own course if allowed to do so and a small trickle can gouge a groove in the bore of a clarinet over a period. Some players trickle oil down the bore to create a path for the water to follow but unless you are confident that you can direct oil down the bore avoiding the tone holes it can cause more problems than it solves. If you want to try the “oil slick” process it is best that an experienced repair-technician does the job. If you attempt it yourself, allow the oil to dry and repeat the process several times being careful to follow the original path of oil. Most of the water entering the clarinet builds up in the top of the clarinet and eventually flows down the tube if allowed. If you eliminate the moisture in the top section then you will have fewer water problems in the main tube. I recommend you (and your pupils) make a mini “mouse”, a small piece of chamois leather approximately 7 inches long by 3 inches wide trimmed to shape to fit the bore of mouthpiece and barrel and glued to the end of a pencil. This is a very useful tool solely for drying the mouthpiece and barrel and top end of the clarinet as far as the speaker tube. Alternatively, there are commercially manufactured “mice” available. Removing the barrel and mouthpiece together as a unit and drying the moisture inside using the “mouse” reduces the amount of condensation entering the main body of the instrument. It does not however replace the swabbing-through process. The “mouse” fulfils two purposes, firstly as a tool to wipe the moisture from the barrel and mouthpiece, secondly to act as an aid to prevent the loss of your pencil.

The”Mouse” A strip of chamois leather folded over and glued to the end of a pencil Make sure the end of the pencil is covered by the leather to avoid scratching the bore of the clarinet

It may seem strange to have to mention to pupils to keep the clarinet upright during lessons and practice sessions. During lessons, it is surprising how often I have to remind pupils not to point the mouthpiece at the floor when we have paused to discuss a point. Accumulated water can run back into the tone holes and the mouthpiece causing gurgles, saturated pads and reeds. On the next page I list some useful tools to include in an emergency repair kit. If you can get some lessons in basic repair, you would find it beneficial. On the clarinet summer school in Liverpool on which I have often given master classes, there is usually a top-flight repair technician who is designated to giving classes on basic repairs. 8

My Suggested Emergency Kit

1. A set of good quality screwdrivers. 2. Spare sets of pads for A and Bb clarinets. 3. Shellac, hot glue gun, pad cement, or other adhesive for installing pads. 4. Matches, candle, (or a portable blowtorch) for heating shellac or glue and removing old pads from the key “cups”. Matches are also useful for cleaning speaker tubes if no pipe cleaners are in your kit. 5. Elastic bands to make temporary repairs of broken springs. 6. “Blue Tack” for blocking tone holes in emergencies when there is no time to fit a new spring and a temporary elastic band repair is either impossible or impracticable. 7. Sets of needle springs and leaf springs for both instruments for permanent repair of springs. 8. A spring-hook for releasing and re-hooking springs – this can be made by bending a hairgrip or hairpin with pliers and should look something like this when bent.

9. Two sets of pliers, one robust for heavy duty jobs – cutting springs, bending keys etc., and a set of long nosed pliers for removing rods from keys. 10. A set of files and several grades of abrasive from fine to course. 11. Several sheets of different thickness cork. 12. Glue. (I find super glue very useful but tend to use one that incorporates a brush for ease of use) N.B. when using super glue - be very careful to avoid skin contact and spilling it on the body of the clarinet whether wood, plastic, rubber, or resin compound. It can react with compounds and leave marks on wood. 13. P.T.F.E. (Polytetrafluoroethene) (known commercially as Teflon) tape also known as plumbing tape, is available at most hardware stores. This is useful for emergency repair of split or loose pads and can be used to wrap around loose tenon joints. Alternatively, cling film - (not as good as plumbing tape because it is not non-stick), is readily found in most kitchens. 14. Wine or champagne bottle corks trimmed to fit the bores of both upper and lower joints to facilitate vacuum testing for leaking pads (see diagram – vacuum testing). 15. Swiss Army knife or similar with scissors and tweezers as well as an assortment of blades and other tools. 16. Small bottle containing oil. 17. Good quality cork grease. La Tromba or Selmer for instance. 18. A flat piece of thin steel (preferably stainless) to use as a pad “iron” and or a lever to bend keys (approximately 6 inches long and 1 inch or 2cm (approx.) wide). 19. A flat piece of thick plate glass as a table for adjusting reeds. 20. Cigarette papers and/or small piece of chamois leather to absorb moisture from pads. 21. Small piece of wood to use as a cutting block when trimming cork etc. 22. Pipe cleaners to clean register key tubes (also known as speaker tubes). 23. A piece of cloth or tissues to wipe excess oil away and to clean up any spillage. 24. A piece of soft cloth or leather to cover jaws of pliers to avoid damage to plating when bending keys and to avoid scratching rods when removing them. 25. The telephone number of a reputable repair technician.

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Leaks – air escaping via pads, causing sound production problems. Vacuum testing – a test to check that the clarinet is sealing efficiently

Champagne or wine cork Body of clarinet joint

Before beginning an investigation for leaks, look for bent keys or other obvious damage. If all appears normal, continue as follows. Test each joint separately. To test that the pads on the instrument are doing their job efficiently, take a wine or champagne cork shaped to fit into the end of the joint to be tested, and wedge it in gently, until it is securely in place. Place the fingers on the clarinet as normal, closing all holes, so that no air can escape. Then, press your lips onto the open end and suck all the air out of the tube. You should feel your fingers being sucked into the holes if the instrument is sealing correctly, if not, you will hear a hissing noise emerging from one or more pads, which indicates the clarinet is not airtight. Another method, instead of sucking, is to blow into the tube and listen for hissing noises. If hissing is apparent (on either test), weak springs, ill fitting, swollen or badly worn pads, could be the problem. Inspect the pads, and check spring tensions, to see if there is enough pressure to close the pads and form an airtight seal.

The cigarette paper /cassette tape test

(Strip of tape from a discarded cassette tape glued to a matchstick - the thinner the tape the more accurate the test)

Matchstick and cassette tape

Place a cigarette paper (or strip of cassette tape glued to a matchstick) under the suspect pad between pad and hole, allow the key to close on the paper and then draw the paper away. If the seal is efficient, you will feel resistance on the paper (or tape), if not, the paper (or tape) will come out easily. Sometimes just the edge of the pad is leaking; in this case, the paper test needs to be done using just the tip of the paper (or tape), on the edges of the pad and tone hole. The most frequently used keys are often the culprits. Right hand side “Eb/Bb” trill key, and the “A” and “G sharp” keys are springs that can become weak, and need re-tensioning from time to time. Similarly all the other trill keys on the right hand side (upper joint) and on the lower joint “F sharp” / “C sharp”, and “G sharp” / “D sharp”. If someone is available to help search for leaks, ask them to assist with the testing. Whilst you blow into the plugged (with wine cork) tube, ask them to press gently on all the pads systematically, one by one and to observe if any air is escaping. You may detect an improvement whilst the pads are being individually pressed. If this is the case, the last pad pressed immediately before the seal improved will need attention. Either re- tension the spring, or replace the pad if necessary. If the spring tension appears to be sufficient, stretching some P.T.F.E. tape over the skin of the offending pad can be a useful, temporary, emergency repair if the pad is damaged. Sometimes more than one pad is leaking, requiring patience and time to discover. Pads that “buzz” can sometimes be cured by moistening the pad slightly, gently heating a pad “iron” and drawing the warm steel across the surface of the pad. 10

P.T.F.E. tape emergency repair

In fig.1, the Grey rectangle represents the tape – bring the edges of the tape up and over the top of the cup of the offending pad. Twist all ends together on top of the cup (fig. 2) and trim excess with scissors.

Cup Cut across view of tape twisted over the old worn or damaged pad fig.1 fig.2

Tone hole

Damaged pad Body of clarinet

If you discover a loose or damaged pad, remove the key and heat the cup which holds the pad (see illustration below). Place the heated key, pad side down on a flat surface, using a cloth to protect your fingers from being burnt. Gently press on the top of the cup to make contact with any molten adhesive that is remaining in the cup. If the pad is still loose after this, reheat the cup, remove the pad, check for damage, and if it is undamaged re-insert into the cup with your chosen adhesive, either shellac, hot glue gun or pad-cement. If the pad is damaged or badly worn, fit a new one. If the new pad is the ordinary white “skin” kind, take a fine point (a needle or pin) and make a tiny hole in either side of the pad before inserting it and heating the cup. The air inside the pad expands when heated and causes the Gently pierce the sides of the skin pad low down (before skin of the pad to “balloon” unless the fitting to the heated cup) to air is allowed to escape. release air inside the pad. Another cause of “leaks” is the A-key adjusting screw. Check this has not Needle tightened itself (car travel and general Heat the cup to remove the pad or to vibration can cause this) enabling air to re-position the pad so that it does not escape. If your clarinet has screws that cause a leak. “undo themselves”, tighten the screw and put a drop of clear varnish on the head, this should stop them becoming loose. Be careful not to over tighten screws as this can cause rods to bind on the pivots. If the clarinet has a serious crack it may leak air, use a magnifying glass to check for cracks. Hold the clarinet up to a light source and look down the bore into the light, check for cracks that intrude into the bore. Pads that have absorbed moisture can swell and leak air from the tone hole, causing squeaks, or considerable blowing resistance. Use a cigarette paper to absorb excess moisture in the pad, simply slide the paper between pad and tone hole, depress the key on to the hole and then open it and remove the paper. Do this several times renewing the paper as required or alternatively use the chamois leather on your home made mouse – another excellent reason to have a mouse. Yet another cause of leaks is loose, ill-fitting tenon joints and mouthpiece corks. I have had success with wrapping P.T.F.E. around loose joints. Wrap the tape around the loose joint several times and assemble the two parts. This will compress the tape, undo the joint, and repeat the wrapping process until an airtight seal is achieved.

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Maintenance of key mechanism

Oiling the moving parts and springs is necessary every few months. To keep the keys clean and free of grease and acids, which will eventually damage the plating, simply wipe the keys after each playing session, with a soft cloth or chamois leather. Some people recommend occasional washing of the keys with a diluted, mild, soap solution to remove build up of grease and acids. If mechanisms are noisy, remove and oil the rods (then replace them). Badly worn keys will result in noise and this will need the attention of a specialist who can reduce the amount of “play” between rods and pillar pivot points using a technique to extrude the metal slightly, called “swedging”.

A suitable mouthpiece

Having purchased a reliable instrument, do not expect the mouthpiece supplied with the instrument to be ideal. Many mouthpieces supplied with instruments are inadequate and can detract from the sound of the clarinet. It is more often the case that a teacher will recommend a separate, specially chosen mouthpiece. A well-chosen mouthpiece can make a bad instrument sound reasonable and a good instrument sound beautiful, provided the player himself has a concept of sound to enable this. Too often, I hear; “that instrument sounds good” when it is a partnership of fine player, mouthpiece, and reed and instrument responsible for tone. Many professional players carry several different mouthpieces, to achieve different sound properties for use in different acoustics and to have a backup mouthpiece in emergencies. It is possible to buy a perfectly good mouthpiece for about fifty pounds but more specialised high quality products can cost considerably more. The mouthpiece should enable the entire compass of the clarinet to be obtained with ease and with enough resistance to enable the input of air to be utilized to maximum potential. This produces economy of energy, minimum effort, and maximum result. A balanced reed set-up is essential, both to the student and professional player. A reed and mouthpiece combination with too much resistance will be stuffy and articulate heavily, and a combination with too little resistance sounds weak and lacking in body. Beginners often prefer a softer, less resistant reed. Weaker reeds will facilitate blowing and articulation but can be much more difficult to control. Whilst it is tempting to allow the beginner to play very soft reeds to facilitate sound production, one should not allow the pupil to continue for too long before graduating to a reed that has more resistance, thus encouraging the correct use of the diaphragm. I find synthetic reeds very useful for starting beginners because they offer consistent resistance, and resilience. Synthetic reeds also have the advantage they absorb no moisture. A beginner may start the lesson blowing comfortably, but then, after a time, the reed can become stuffy, saturated with moisture causing frustration for pupil and teacher. The pupil is frustrated because he does not understand why the clarinet is becoming difficult to blow, the teacher frustrated because the problem can take time to diagnose and remedy, by changing reed, or attempting to dry the current one. (More about synthetic reeds later in the reed adjustment section)

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A MOUTHPIECE IN SEE THROUGH SECTIONS

1. Sideways on 2. Front view

TIP OPENING SIDE WALLS (Dotted)

(black patch- optional) TIP RAIL

BEAK BAFFLE SIDE RAILS SIDE WALLS (Dotted) FACING CURVE

TONE CHAMBER THROAT WINDOW

FACING R (or table) RAMP

BORE

TENON

Mouthpiece manufacturers usually supply measurements of the dimensions of tip opening, facing etc., and this gives the player a guide to the resistance of reed required. Resistance caused by the design of the mouthpiece (i.e. the resistance felt when blowing air in to the mouthpiece) affects the properties of sound and ease of blowing. Mouthpieces are manufactured from many different material compounds including metal, glass, hardened rubber and plastics, often with additives such as slate, glass etc.,) The compound is crucial to the sound characteristics. Material that is too dense will create excessive resistance. Material that is not dense enough will result in lack of focus and projection in the sound, and will reduce the longevity of the mouthpiece. A sound that is diffused and unfocused will not project well or be easy to tune with in an orchestra or ensemble. Mouthpieces are available in many different designs. The options available make choosing a mouthpiece very difficult and can be utterly mind numbing in complexity. They may have an internal tone chamber that is large or small, walls angled or straight, a wide or narrow tip rail and ramp, several different shapes of baffle producing different tonal qualities. Some players use a rubber self- adhesive patch on the beak of the mouthpiece to minimise the vibration thereby eliminating some of the extraneous noises heard, transmitted via the teeth. They are available in several densities and can be clear, translucent or black, thick or thin. It is a good idea to use a patch in my opinion, not only does it protect the mouthpiece but enables the player to get a secure purchase on the beak of the mouthpiece with the upper teeth. This reduces the danger of squeaks caused by the teeth slipping and the mouthpiece being inserted too far into the mouth. 13

Barrels and Bells

Density and amount of material (normally wood but other materials can be used) in the barrel and the bell affect the sound. Too much material can cause the sound to be muffled and unfocused, too little and the sound will be too light in texture, the lower register lacking in depth. Barrel design is crucial, both internal and external proportions can affect the sound and blowing resistance. Barrels can be tapered internally to create focus and flared externally to give added depth to the sound, particularly in the lower register. Experimentation is the only way to select the combination of bell / barrel best suited to your instrument. Weight, density of bell and resonance, is important to the way the clarinet projects. These factors also affect the clarity of the “bell” notes. (Those notes requiring the left and right hand lower cluster of keys in both chalumeau and clarinet registers). Some clarinet “technicians” (and instrument designers) have designed their own barrels and bells, notably the American, Moennig, and several others that have made barrels from metals and synthetic materials. I have used metal and synthetic barrels to great advantage on occasions where climatic conditions were extreme. Whilst it is useful to have alternatives, I have yet to find any other material that improves on wood for sheer beauty of sound. For many years, I used a barrel (made of wood) that had an alarming crack running through it, but none of my other barrels was as good from a sound point of view. If an instrument cracks, do not panic-it is usually not disastrous and sometimes can actually improve the response of the instrument because the tension in the wood has been released. These days, super glue is used to mend cracks, and metal pins are rarely used to hold the crack together unless the crack is a particularly serious one. Bells need to "ring" and this is true on the clarinet. When you tap a clarinet bell with your knuckles it should produce a clear note which rings and should never sound dull. The bell can affect the entire instrument's resistance and "feel". A combination of barrels and bells is well worth experimenting with to compare sound and resistance, particularly if you are buying a new instrument. Most professionals would choose separate barrels and bells to compliment the clarinet.

Sound concept

The player should try to decide how he or she wants the tone to be perceived by the listener. Listening to great players from the past and present is the best way to start. In the early stages of learning the instrument, young players tend to imitate the players they admire. This is taken a little too far sometimes, even to copying the shortcomings and idiosyncrasies of the chosen “idol”. I was guilty of this when I was a child, but this is a passing phase and as a player develops, they form opinions and develop their own sound identity. My first experience of clarinet sound was listening to a player whose sound seemed to me so ugly that it almost put me off the instrument for good. If it had not been for the playing of Jack Brymer, (whose sound I found captivating) I may never have entered the clarinet fraternity. Sound concept is very personal and one person’s idea of what constitutes a good sound may differ considerably with another’s. 14

Establish your sound identity

Every player is an individual and has his or her own unique personal voice. Just as we develop regional accents according to our environment, the same is true of sound production on the clarinet. If you live or study in Germany, it follows you would probably make a sound that has German characteristics. In Britain, the national characteristic is less prevalent and whilst there is a general school of playing we seem to have absorbed national characteristics from many other schools. For many years one could recognise the distinctive sound of the London Orchestras by their clarinettists; Kell, Brymer, De Peyer, Walton, Fell, McCaw, Kelly, all wonderful players in their own way. Despite the fact it is becoming more difficult to “spot the orchestra” by listening to the wind players. Sadly, in recent years I feel there has been a trend away from individualism in U.K. clarinet playing. Ironically, more traditionally conservative countries are now becoming individualistic in clarinet style, notably the players of the United States. In the last twenty years or so there has been a growing trend towards individuality and some vibrato in the United States (perhaps because of the British influence of Reginald Kell) with players such as Harold Wright, Richard Stoltzman, Ricardo Morales and Charles Neidich. Exciting American virtuosi, excellent players and all very different.

Record your sound

It is paramount that your chosen sound is represented to the audience in the way you envisage it. This can be very difficult because when playing we hear sound transmitted via our bones (in the head) as well as the external sound. The most accurate way to hear the sound as others do is to record your sound professionally in a natural acoustic. The clarinet is a difficult instrument to record faithfully; the overtones seem to disturb most microphones so at best we can only approximate the sound we make. If an acoustic is too resonant, it can distort the sound. If there is no resonance, or too little, the sound will be dull.

Always carry a spare mouthpiece

Always have a choice of mouthpiece with different characteristics at your disposal. It is foolish (especially if you are a professional) to rely upon one only. Backup is essential not only on computers! I know a clarinettist who dropped his favourite mouthpiece and chipped it just before a performance. I had to loan him one of my spares. Remember also that one mouthpiece may not be ideal for every venue. Larger, more resonant rooms may require a more focused sound generally, and sometimes, recording in a studio with a dry acoustic, a slightly less focused sound may be required. Smaller rooms need less volume of sound so in this instance choose a mouthpiece that does not play too loudly. Audiences like to be able to hear an exciting “forte”, but a sound that is continuously overpowering is very tiresome.

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Vibrato

Vibrato is optional on the clarinet but everyone should learn how to play with vibrato when required. To attempt any jazz repertoire without it would be naive. It can enhance the sound if used with integrity. Glinka and Puccini are among composers who write instructions to the player to use vibrato. It would seem unnatural to play the opening solo of Rhapsody in Blue by Gershwin without vibrato. If you want to use vibrato to colour the sound it is a good idea to listen to players that use it well. Reginald Kell, was the great British pioneer of vibrato and influenced many others. After Kell, (whose style of vibrato was controversial, and not to everyone’s taste) Gervase de Peyer and Jack Brymer, developed the British style of vibrato and used it with great effect and integrity. There are still many recordings of these great players available and many of Reginald Kell’s inspiring performances have been re-issued on C.D. by Clarinet Classics, a company specializing in contemporary and historical clarinet recordings. The technique of using vibrato is not easy to teach and requires much patience from the pupil. Learning to use vibrato will help lip flexibility and glissando, which is discussed briefly, later in this book. (See advanced techniques)

Focus in the sound – the distance factor

A sound can seem pleasant at close-range but sound weak in the auditorium. Paradoxically, a sound that appears tight and centred at close range can, amazingly sound very good in the hall, particularly if the room is a resonant one. The late Sidney Fell (my teacher at the Royal College of Music) sounded almost too focused when I was in lessons standing next to him, but in the auditorium the sound projected was beautiful. Harmonics or “overtones” help to project the sound in a large auditorium. Always find someone to listen to your sound from the perspective of the audience. Focus in the sound is therefore not only desirable but also essential, especially if you are planning to play professionally.

Learn from other schools of playing

Interpretation of music is a very personal and individual issue governed by many factors that are far too diverse to discuss in this book. It is tempting to be dismissive of other schools of playing different to one’s own. Tolerance and freedom are very important in art and we must listen to other styles even if we disagree with their concept of sound. We can learn a considerable amount about interpretive issues, phrasing, and articulation by listening to other schools of playing. It does not necessarily follow that a Frenchman plays French music better than someone does from U.K., or an Austrian performs Mozart better than an American does. As a player gains more experience and maturity, interpretive concepts will change. No musician can claim to have a mastery of all styles, and music is very much a case of "horses for courses". Some players choose to specialise in a style. Styles such as early music and the "avant-garde" 20th century music need to be studied carefully, sometimes having a musical language quite different to the norm.

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Reeds and reed adjusting

Before beginning to play, moisten the reed thoroughly in the mouth, for at least one minute. The position of the reed on the mouthpiece is very important. Moving the reed from left to right, higher or lower, can produce many different responses. If re – positioning does not improve the response, the tip of the reed may need either clipping (with a reed trimmer) and/or adjusting with a blade or abrasive paper to improve the response. If the reed is too soft, try clipping, or if it is too hard or stuffy try the remedies described later in this section. The relevant areas in the diagrams have been coloured for easy recognition. The advice given here on reed adjusting is the basic minimum knowledge required - a further reading list is offered at the end of the section.

The side-to-side test. (This test determines which part of the reed to adjust)

Place the mouthpiece in the mouth and rotate it either right or left, so that only one side of the reed is in contact with the lower lip. This leaves one edge of the reed slightly raised, off the lip. (The mouthpiece will be in a twisted position in the mouth and will feel strange.) Whilst retaining this position, blow a short burst of air into the mouthpiece noting the response. By response I mean whether or not the reed feels free blowing or stuffy. (The raised side is the edge heard when blown.) Compare this with the feel of the response on the other edge. Rotate (twist) the mouthpiece on to the other side of the lip and do the same test on this edge. The raised edge that is stuffiest in response needs thinning. We generally refer to this adjustment procedure as balancing

Balancing

We balance a reed by equalising the thickness of the reed on either side to make it feel free blowing and to have the correct amount of resistance. Equalising the thickness in effect allows both sides to vibrate at the same speed. The traditional method is to do this with abrasive paper or a sharp knife, moving the paper or blade diagonally up towards the outer edge of the reed, away from the heart. (From the edge of the heart out into the black- coloured regions depending on which edge needs to be thinner - see diagrams.) You may mark the areas (that need sanding or scraping), with a soft pencil to make sure you do not stray into areas that do not need adjustment. It must be stressed that a little taken off each time and frequent testing is the secret. It is easy to take too much cane off and impossible to replace. If you have an accurate measuring tool, such as a micrometer, it is possible to perfect the dimensions of the reed, but in reality, this takes too much time for most clarinettists. The density and quality of the cane are factors in determining whether the reed will be long lasting and how well it responds to balancing. There are also different types of “scrape”. The “scrape” is the length and profile of the blade of the reed from the initial cut to the tip.

SHORT SCRAPE LONG SCRAPE

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Traditional Reed Adjustments Remove cane by sanding, or with a blade in the black areas. Sometimes it is necessary to sand or scrape the sides below the black areas but rarely is it necessary to remove cane from the heart.

It is essential the back of Most reeds are flawed; the reed is flat. Any raised the most common fault grain should be being that one side is eradicated by placing the TIP thicker than the other is. reed on a sheet of fine This means the thinner abrasive paper on a SIDES side will vibrate more reliablyTIP flat surface. (Shaded black) than the thicker side, Keeping a uniform causing poor response. pressure on the reed, HEART Removing material either move it carefully back (Red) with a blade or fine

and forth, checking abrasive paper from VAMP or cut one side will improve the frequently that the uneven grain is smoothed (Brown) response, depending on The raised area flat. A magnifying glass is which side of the reed is on the face of useful for checking this. It the reed thickest. An easy way to is not advised to take too test this is the side to side much cane off the back of STOCK test described earlier. the reed, so do this When removing excess gradually, constantly material, do it in tiny playing it to test the BACK (on amounts and test response. reverse side) frequently.

Always place the reed on a flat, firm surface when making adjustments. If you are making a minor adjustment with the reed whilst it is still on the mouthpiece, gently wedge a thin piece of plastic in between reed and mouthpiece-facing to provide a firm backing surface and to protect the mouthpiece. A guitar plectrum or credit card is useful for this, but remember to return your platinum card to your wallet!

Hygiene

From the very outset of lessons it is a good idea to explain (to pupils, particularly young children) the necessity to clean the inside of the mouthpiece regularly with warm water and disinfectant, or to soak it in sterilising solution. I have seen some alarming cultures growing inside mouthpieces. Sore throats and even mouth infections can be caused by ignoring this. Pupils should clean the mouthpiece regularly and try to keep reeds clean. Handling reeds deposits grime and oils on to the reed. These natural oils help waterproof the reed but can cause the build up of bacteria that can get into the folds of the lips causing unsightly infections such as cold sores. Clean reeds with a toothbrush and a mild soap or antiseptic solution such as Dettox or Savlon. Alternatively soak them in sterilising solution such as Milton, this often re-juvenates them. Dry reeds by leaving them on a piece of flat glass.

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(Reed adjustments continued) If the reed absorbs too much water, it can feel very stuffy and unresponsive. Make sure Direction of cane removal that the reed is not absorbing too much with a blade or abrasive paper moisture. Lightly sanding the entire face of the reed can achieve this, but be careful not to make the reed too soft. Another successful method of sealing the pores of the cane is to rub the facing of the reed on a wet stone (used for sharpening razors); this produces a polished surface. If the reed does absorb too much water, remove it and dry it out by leaving it on a flat piece of glass. Put an alternative reed on and later, when the saturated reed is dry, change back to it and continue the playing in process. Remove cane from the This process may need to be repeated often. Only play reeds for about fifteen minutes at a right-hand side in the Remove cane from the left- time if several reeds are to be “played in.” direction of the arrows hand side in the direction Keep your reeds flat in a suitable reed holder if this side proved of the arrows if this is the and make sure you rotate the use of your reeds stuffiest in the side to unresponsive side. Do this to get the most playing time from them. side test (red arrows if little by little (Red arrows if Always have more than one good reed using a blade). using a blade). If using available for performances. You may need to If using sandpaper sandpaper reverse the change reed during a performance. Climate reverse the direction direction i.e. inwards (blue and altitude can adversely affect reeds. Reeds and sand inwards (blue arrows). arrows). played at sea level will generally seem softer than those at altitude. Take a cross section of strengths if you are doing a concert tour and travelling from sea level into the mountains! Synthetic reeds are useful in such circumstances.

If the sound is generally a little unresponsive try gradually thinning these The area near the tip needs specific black shaded to be thinned a little if areas staccato is unresponsive or too heavy.

If the reed is completely unresponsive, try removing some cane from this region. Some players go as far to advocate gouging out a shallow depression to improve response, but this is an extreme measure and should be attempted only as a last resort.

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TOM RIDENOUR’S Universal A.T.G. Reed Finishing System

(Ridenour Clarinet Products Logo) Tom very kindly allowed me to describe his A.T.G. reed finishing system in this book. I discovered it by visiting Ridenour Clarinet Products web site and reviewed it for the Clarinet and Saxophone society of Great Britain (Summer ’03). In order to safeguard his work I will not disclose the complete method, but suggest you, the reader, visit his web site to obtain his product. The method is quite different from the traditional method of reed adjusting and the secret lies in the letters A.T.G. They stand for against the grain. For many years, players have tried to scrape or sand reeds and have had varying levels of success. Tom’s revolutionary system dramatically increases the chances of transforming unusable, stuffy reeds that one would normally discard. If you buy this reed fixing system, I am certain you will begin to understand how reeds work, and how to adjust them. I guarantee you will recoup your financial outlay in a very short time. I use Tom’s System, and have fixed reeds I thought I would never use. The system consists of a comprehensive booklet and DVD which describes clearly the properties and behaviour of reeds and how to adjust them to improve the response. A simple, sanding tool and a flat piece of thick glass and several grades of abrasive is supplied. Reed finishing tool

Reed

Flat plate of glass Self- adhesive abrasive sheet on top and below the tool allowing it to be inverted

I am delighted to have the system and find it extraordinarily effective and simple to use.

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Reed making - Javier Defez Requena’s method

My Spanish friend Javier showed me his method of reed making that needs few tools, and uses ready made blanks - reeds that have been prepared, for finishing by hand. He kindly allowed me to describe his method. Javier uses Rigotti or Glotin blanks (He also makes excellent Paella!). With practice and patience, excellent results can be achieved thereby ensuring a cheap and consistent supply of reeds. Tools – You will need a Stanley knife and spare blades, a piece of thick flat glass and several sheets of abrasive paper of grades ranging from course to fine (grade 400). Also you require a piece of hardwood fashioned with a saw to the shape in the diagram below and this has a hole drilled in it for the thumb. A “G” clamp is a useful optional extra that can be employed instead of the left-hand thumb, to secure the reed on the block, and is safer. Finally, to clip the tip of the reed you will need a reed cutter from one of the many manufacturers; Cordier and Prestini are typical of these. The depth of the wooden “block” should be no wider than a reed. The basic design can be customised to suit the individual.

This distance should correspond to the length of the mouthpiece window

Side view of blank after initial cut

View of blank from top Cutting (Tip of reed is uncut) ta ble is precisely reed width Cutting table REED MAKING BLOCK

Reed blank

Optional “G” clamp to hold reed secure on the block. Line marked to correspond to length of This distance should be mouthpiece window to mark the distance of slightly longer than the the first cut on the blank. This saves time reed blank when making several reeds at once. It is a good idea to cut several blanks at a time. 21

The position of the body and hands for cutting the reed.

N.B. Always keep Left Hand behind the blade. Right hand grips Stanley knife and thumb goes through the hole and is protected by upright stop.

Scrape begins at the line corresponding to the length of the mouthpiece window.

Direction of cut

Note the “G” clamp is optional as the left hand can secure the reed easily using the thumb

Optional padded block can be added to the end of the cutting block to protect chest

Direction of cut

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(reed making continued) N.B. It is essential that if no G clamp is used, the thumb holds the reed firmly and the left hand is always behind and away from the blade.

Direction of cut

N.B. The author accepts no liability for injury sustained by following the instructions and diagrams.

Secure the reed blank on the flat surface (cutting table) with a small “G” clamp or by holding with the thumb on top as illustrated. Then, mark the length of your mouthpiece window on the blank using a soft pencil. (Mark this length, (which should correspond to the length of the mouthpiece window), in ink, as a guide, on the side of the of the wooden reed making block (as shown in the diagram). Some blanks are pre-cut to this stage; it depends on how much of the initial preparation you prefer to be done for you by the manufacturer. Having secured the reed by means of a G clamp or by holding in place with the left hand, begin cutting by holding a Stanley knife in your right hand and placing your thumb through the hole in the reed making block. Begin the initial cut towards you from the marked point corresponding to the mouthpiece window, cutting a wedge shape, carving towards you using the upright “stop” at the end of the cut. This protects your right hand thumb. When you have carved the reed blank into a basic wedge shape it is then time to refine this either by sanding by hand on a piece of glass or by using a reed copying tool called a "ReeDuAl", made in America. This machine reproduces the dimensions and copies the profile of your favourite reed. It is available from addresses in the publications listed at the end of this section. If using a machine Javier suggests it is a good idea to use a synthetic reed as a template. First find a synthetic reed that is the correct resistance and is comfortable, and then use this to do most of the preparatory shaping after the initial cut. 23

(Reed making continued)

Far simpler and equally effective is Tom Ridenour’s reed finishing method described earlier. If sanding by hand, start with course abrasive and gradually reduce the grade testing the reed continuously to check hardness and balance. Measuring tools can help achieve equal thickness of the reed edges etc., but cane density is a factor that may cause the reed to feel unbalanced even if the edges are equal in thickness. Sand the reed as described in Tom’s booklet on reed finishing. Constantly test the reed, and finally clip the tip using a reed cutter when the resistance is almost perfect. The tip may need further adjustment using "Dutch Rush" (a course grass) or very fine abrasive. Dutch Rush can be obtained from most good wind instrument suppliers. The reeds will change according to climate and will probably need some “fine tuning” and playing-in, fifteen minutes per day is best. Another good tip is to put the reed in your mouth and let the saliva soak the reed for about a minute then place the reed on flat glass to dry. Repeat this process frequently.

Further reeding!

For more advice on reeds, there are several reed-making booklets available. Making and adjusting single reeds by Kalmen Opperman published by Chappell & Co. is a very well established booklet on the subject. Another written by Jack Spratt is available from Jack Spratt Woodwind Shop P.O. box 277 Old Greenwich CT 0688870 U.S.A. (This book was first published in 1956 and may not be available, although it was reprinted in 1981.) The most recent one I have seen is one I reviewed for the Clarinet and Saxophone Society of Great Britain. The book, by Glenn H. Bowen (Professor Emeritus of Music, University of Wisconsin- Madison) is available from Luyben Music 4318 Main St. Kansas City MO64111. In these booklets, there is information on how to make your own reeds and adjust commercially produced reeds. Thomas Ridenour’s Univesal A.T.G. Reed Finishing system is available from Ridenour clarinet products - www.ridenourclarinetproducts.com Synthetic reeds are being improved all the time; Legere, a Canadian company makes the best of the ones I have tried. These are currently available at many instrument suppliers. These days I sometimes use a synthetic reed, especially during rehearsal periods and save my best cane reeds for performances. In conditions of extreme climate for example if the temperature is very hot, I prefer to use synthetic reeds to guarantee the response when a cane reed may not be able to cope with the conditions of dryness and heat. I currently use Marca reeds http://www.marca-france.com/ and have done for many years. They are less expensive than some other brands and are consistent but I usually adjust them to get a perfect balance. They make reeds of several different kinds including those for saxophone. There are many reed manufacturers to choose from including Vandoren, Rico, Glotin, Rigotti, Reeds Australia, Zonda etc., etc., and choice is often a very personal preference.

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Ligatures

There is some difference of opinion about the virtues of various designs of ligature. Some people believe that they affect the sound and resistance of the reed considerably, whilst others categorically refute that ligatures make any difference to the sound or reed playing characteristics. To some extent, the design of mouthpiece will determine the amount of difference the various makes of ligature have on the response of the reed. (See paragraph on the direction of pressure applied…) In over forty years of playing, I have found that ligatures do in fact make a difference but not as much as manufacturers would have us believe. The difference is more discernible to the player than the listener - the “feel” of the reed being affected more than the sound in most cases.

The amount of ligature and lip in contact with the reed affects the sound.

The material from which a ligature is made is critical to the sound, as is the amount of surface area of the ligature in contact with the reed. It makes sense that if a large surface area of the ligature is in contact with the reed, then the reed cannot vibrate as freely as with a minimal contact area. The former will muffle the sound, giving a darker quality, and the latter will give a lighter more vibrant sound.

The amount of pressure applied to the reed affects the sound and response

Too much lip folded over the teeth will usually cause a muffled sound. Players who fold too much lip over the teeth invariably apply too much pressure to the reed. This causes many problems, most audibly a restricted, muffled sound. Minimal lip intake (and hence a reduced surface area on the reed) will give a sound which enables all the usable area of the reed to vibrate. This results in a clearer, more projecting sound, allowing more overtones (harmonics) to colour the sound, and better response from the reed.

Metal versus “Cloth”

In my experience, metal ligatures invariably give a more focused “edge” to the sound than “cloth” (leatherette or vinyl based material) ligatures, but this again is subject to the variable of how much lip is folded over the teeth. Sometimes I use metal ligatures in resonant acoustics and a mixture of cloth and metal in less resonant rooms. The main problem with cloth ligatures is that the material is prone to stretching over a period of use, and can be less efficient in holding the reed on the mouthpiece securely. In Germany many players use cord to hold the reed in place and these days one can purchase a ready made cord ligature which simply pushes on to the mouthpiece and is quite efficient in holding the reed on to the mouthpiece.

(Ligatures continued)

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The direction in which the ligature applies pressure is crucial to the response of the reed I currently use (along with many other professionals) the Vandoren Optimum Ligature. This has three interchangeable metal plates that clip on to the body of the ligature. The different design plates affect the resistance of the reed considerably, so effectively one has three ligatures in one. Each plate exerts pressure on a different portion of the reed. The direction in which pressure is applied is crucial to the response of the reed. (http://vandoren.com/)

Horizontal as opposed to vertical pressure makes a considerable difference to the “feel” of a reed, according to the type of mouthpiece “table” used. (Horizontal pressure plate 1)

Horizontal pressure on the reed will create a “variable” in response on mouthpieces that have a concave part of the mouthpiece “table” to spring the reed away from the tip of the mouthpiece. The nearer to the centre of the concave section pressure is applied, the further away from the tip rail of the Plate 1 mouthpiece the tip of the reed will be.

Conversely, the higher up the table towards the top of the concave section the closer the tip of the reed will be to the mouthpiece tip rail. This gives considerable choice to the player depending on the resistance of reed used. If a reed is too hard, position the ligature higher to reduce resistance and vice - versa, lower if the reed is too soft.

The plate (plate 2) that applies vertical pressure suits a flatter mouthpiece table or one with a slight concavity and gives a more even response, Plate 2 which I find is the most satisfactory for every day playing.

The Optimum ligature can achieve minimum contact by using the plate (plate 3) with four tiny raised contact points. This allows maximum vibration of the reed, which I find useful for jazz playing and glissando effects. Plate 3

This very “free” sound may not be ideal in all circumstances; hence, the other two plates are very useful offering different “feel”, response, and tonal variety. It is not essential to have an expensive ligature and for many years, I played using a simple, standard one. The beginner does not require the most expensive ligature, but it is important the ligature fits the mouthpiece well, and holds the reed securely.

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SECTION 2 - Teaching and teaching accessories

TEACHERS (and students learning to teach) Here are a few commonly found problems to be aware of

Inadequate instrument Incorrect assembly of the clarinet Inability to secure and position reed correctly Puffed cheeks Squeaking Poor note recognition Lack of rhythmic recognition and interpretation L/H thumb resting on body of clarinet below back hole Left and right little fingers below key clusters on either side Bunching” of fingers (particularly when using the A key) Jumping to “A” key (instead of pivoting) Weak coordination / synchronization of 4th and little fingers Missing out notes in scale sequences caused by the above problem Inability to play sustained legato Inability to tongue and coordinate with fingers Sore lips Inability to hold instrument for long periods Sore thumb R/H (see posture) Fingers lifting too high Inability to cover holes particularly in 4th fingers LH and RH Inability to reach little finger keys in either hand Parents being too much involved in lessons Lack of communication from the student Poor pupil attitude / lack of attention / tiredness Impatience and frustration of teacher causing stress for the pupil.

No doubt, you will encounter other problems in addition to the ones listed here. It is useful not only for the student to have a notebook, but also for the teacher to record the content of the lessons in a notebook, or by using a recording device after the pupil has left the room, to keep a log of problems, and solutions. In time the inexperienced teacher will build his or her own method and the teaching notes will be invaluable for both pupil and teacher.

Children that learn musical instruments do better at Academic subjects

It is proven that children that play musical instruments generally do better at school than those not learning an instrument. Parents should consult an experienced teacher for advice before a child begins learning the clarinet. Always keep an open mind and listen to your pupils. Encourage dialogue - after all teaching is a two way process. I have learnt a lot from pupils and still do.

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FIRST LESSONS - for teaching beginners

Create a Teaching system

Plan the lessons for the term (in advance) and plot a schedule for checking targets via monthly tests

Encourage pupils to learn to dismantle and assemble the clarinet in order to carry out simple maintenance and repairs

Study material – have a standard “set” for all students using the great works and studies

Scales – there are many scale books – select the most comprehensive and include jazz scales and modes.

Create your own list of selected pieces for all standards to suit technical and artistic levels of individual students

Play duets with students, imitation is good at the early stages so set a good example of sound and techniques.

Create and distribute practice logs and progress charts/graphs for each student and make sure the student enters progress on a daily basis.

Schedule monthly tests on scales and study material.

Encourage students to attend regular clinics and ensemble sessions.

Enable students to play in public and from memory at an early age if possible.

Pass pupils on when you have exhausted your knowledge, seek a more advanced teacher and ask him or her to assess your student.

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First Lessons- beginners (continued)

A first lesson should include enough time to enable younger pupils to practise assembling and dismantling the clarinet correctly and to give them time to learn how to secure the reed without damaging it. The teacher should demonstrate assembly of the clarinet several times until the pupil has completely mastered it alone. Never rush this. I must stress the point about assembly of the instrument - take time to ensure the pupil has really grasped the correct method. I have seen many damaged instruments caused by incorrect assembly. Always ensure that the upper joint ring keys are depressed by the left hand when fitting upper and lower joints together. The lower joint ring keys must not be depressed and should be gripped firmly by the right hand at the lower end of the joint – it does not matter if the low E/B pad is closed. It is sufficient if a first lesson consists of assembling the clarinet, showing correct posture and hand positions, embouchure, blowing method, and perhaps one or two notes. A lesson or two without time constraints at the outset, is a good idea, especially if a supportive parent can sit in and make notes for the pupil.

Parental support is vital when teaching young children

One needs time to develop a rapport with the pupil and to convey the message that playing an instrument is enjoyable. Parental support can be a very positive asset to the teacher and nurturing good relations with parents encourages co-operation. One caveat on the subject of parents in lessons - do not allow the parent to answer for the pupil, always engage the pupil and then seek support from the parent. Many children can become self-conscious and even insular if the parent is too dominant during the lesson. The pupil should always bring a notebook to lessons to allow the teacher to record progress and to have a clear picture of work to be prepared for the next lesson. Many pupils will want to play purely for fun, whilst others need more serious fare to develop their skills to the fullest.

Enable the pupil to feel comfortable and relaxed - a little psychology

Try to find areas of common interest and create a relaxed atmosphere with the pupil - a tense nervous pupil usually learns more slowly than a confident one. Pupils learn best if they see their teacher as a friend rather than someone they fear. Young children have limited attention and concentration span so give out information in short, clear, coherent segments. The pupil will retain more in short bytes than in extended lectures. Try never to exceed a pupil’s maximum attention span. If you are new to the teaching profession remember - we all make mistakes at first when teaching, but try to be patient, and keep in your mind the thought that the child learning is doing so because he or she wants to enjoy playing an instrument. It must never become a worry or a chore to practise. Encourage your pupils to choose pieces that they would like to play as well as preparing the work you have set. By doing this you will learn just what sort of music they enjoy.

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We teachers sometimes try too hard

Sometimes we teachers try too hard, and can become frustrated when a pupil is having difficulty trying to understand something we are trying to teach them. This can be discouraging, so try to avoid becoming tired or irritable, frustrated or short-tempered. Be prepared to repeat yourself without becoming monotonous. Try to approach a problem from several different angles to illustrate a point. One analogy may not work, but sometimes another may conjure precisely the mental picture for the pupil to grasp the point being made. (I apologise to the reader if this sounds patronising, it is not intended.) A child who has concentrated intensely may reach saturation point, which can manifest itself by the pupil becoming withdrawn or tearful. Whilst not always convenient it is a good idea to schedule a break during teaching. Keep your language simple and concise; never use words or phrases the pupil does not clearly understand.

Supporting the clarinet and associated problems.

If a small child is struggling with the weight and stretch required of the full size “Bb” clarinet, a clarinet in “C” or “Eb” may be the answer. There is a great deal of sense in starting any musical instrument as early as possible but only if the child has the physical attributes to cope with the stresses and strains put on teeth, hands and (need I add) brain. There are several manufacturers producing simplified beginners clarinets but in my experience, there is no substitute for a conventional clarinet to start with. If a child is too small to support the clarinet, consider buying a “C” clarinet or an “Eb” model. Whilst this may not be the cheapest option for parents it in my view is the best solution for the young player. Consult a reputable dealer and the teacher to discuss the options. There are hire schemes but usually only for the “Bb” full size clarinet. I began on an “Eb” “simple- system” clarinet that was an old discarded military instrument.

Correct posture is vital for good playing and sound health.

Clarinet playing is a recipe for a repetitive strain injury unless relaxed and correct posture and hand positions are employed. The head should be very slightly inclined forward, shoulders and throat relaxed. Feet should be about shoulder-width apart, knees slightly bent. Shoulders should always be relaxed and never raised during intake of breath. The airway should not be compressed or restricted, only a slight forward tilt of the head is needed. A head position that is too upright or tilting backward can cause neck pain and ultimately tension throughout the body and can cause long term injury. Conversely, the head and neck should also not tilt forward excessively as this causes constriction of the airway and stooping of the shoulders. Arms should neither be pulled in too close to the body (causing the wrists to collapse) nor extended excessively (an approximate angle of forty-five degrees between clarinet and the body).

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Sitting posture

Orchestral players spend a great deal of time sitting and indeed so do peripatetic teachers. It is vital that a relaxed sitting position is adopted and consciously employed when playing or teaching. The height and depth of seat and angle and height of backrest affect the long- term comfort and health of the individual. Some players' find the spine is supported in a more comfortable position if the back legs of the chair are raised slightly altering the centre of gravity. In the forty-three years of playing clarinet, I have only experienced problems on occasions when there was inadequate choice of seat. If you have any back pain at all when sitting, consult someone in the field of Orthopaedics to advise you. Alternatively, Alexander technique is something many musicians learn and use in day-to-day life. There is an excellent book “The Athletic Musician” written by Barbara Paull and Christine Harrison that every musician should read, published in the U.S.A by Scarecrow Press Inc. This book relates to posture in the music profession and how to avoid injuries sustained by incorrect playing positions.

Correct playing position

Many beginners concentrating on notes and blowing simultaneously adopt a poor posture. A common fault is to pull the arms and instrument too far in to the body, this inevitably leads to poor hand positions and ultimately pain. Wrists must never be “collapsed”.

Hand positions viewed from above.

CORRECT INCORRECT Bell Fingers

Wrists

Elbows

Head

Create good hand positions. Holding the clarinet Poor hand positions. Upper arms and elbows normally, form a right-angled triangle by pulled in towards body, wrists collapsed, LH extending the fingers and making a ninety- thumb pointing upwards. degree angle with the tips when viewed from Fingers “clawing” tips of fingers pointing in ring above. Then, gently lower the fingers whilst keys and holes. The clarinet bell pointing almost (Posturemaintaining continued slightly extended arm positions, vertically at the floor. All these faults create huge wrist and forearm in a straight line. Pads of problems resulting in long term injury to tendons Head,fingers thenbody, fall and naturally arm acrosspositions the holes and and ligaments. Incorrect hand positions cause LH thumb in a diagonal across the back hole. poor head position resulting in neck injury. (PostureElbows continued) should just be visible in the peripheral vision whilst looking straight ahead. The shape made by the space between thumbs and fingers should resemble a banana.

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Correct position: head upright, neck Extreme case of poor posture. slightly inclined forward, clarinet at Head pulled into chest, neck excessively bent, a ngle of forty-five degrees (approx.) airway constricted, arms pulled in to body.

The incorrect position (on right) may seem somewhat comical but is seen all too often in young players with disastrous results causing long term injury and stooping. Too many teachers allow poor hand and head positions to go unchecked. It is a teacher's duty to try to teach the correct posture no matter how long it takes. Constant repetition will always be necessary, never give up. No two people have precisely the same shape or size of hand. Great care should be taken to ensure that the right hand thumb is in a comfortable relaxed position and not restricting tendon movement by being forced too low by a badly situated thumb rest. Poor hand positions also cause the player to lean on the first trill key on the right hand side. This is a common problem that the Kooiman thumb rest (mentioned later) can help eliminate by raising the hand to be above and away from this side key.

Hand Positions

(Hand positions Thecontinued) space between thumbs and fingers when hand positions are correct should be banana or kidney bean shaped.

The incorrect shape made between

thumbs and fingers when wrists are collapsed looks like this 32

Left hand Register key thumb position

Thumb hole

When operating the register key to play the upper notes of the clarinet, the thumb must not lift off the thumb hole. The movement required is similar to feeling the texture of a cloth. Make sure the action of gently rotating the thumb up to the key does not uncover this hole. (The exception to this is Bb, third line of the stave, often referred to as "throat Bb". In this case it is important to clear the back thumb hole ring sufficiently to produce a clear note.) For all other high register notes the thumb should pivot slightly; imagine you cannot move it because it is glued to the thumb hole. Many players with small thumbs find this difficult. One solution is to have a solid (covered hole) back ring with a pad in it to enable those with small hands to cover the back hole. A good instrument repair technician could build this customisation. It is possible to find some instruments with this feature as standard but they are not very common.

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Correct finger movements Correct hand and finger movements are required to enable pupils to play the clarinet with fluency.

It is crucial that only a small The stars show the correct segments of finger movement is made to open the “A” for pivoting and depressing the “A” and “G and “G sharp” keys. Rotate the sharp” keys. In all the diagrams, the red wrist until you actually see most of arrows show direction of rotation of the the index finger nail pointing at fingers and wrist. your face at about 45 degrees to the instrument and the key. All the other fingers must remain more or less hovering above the holes they normally cover. Never allow the finger to move into the white area of the “A” key or “G sharp” key. When moving from the first ring to “A” the finger should always pivot, never “jump” from ring key to “A”key. Make sure the finger rotates sufficiently to open the “A” key and clears the first ring, to allow the First Ring sound to come out of this hole. If this is not done correctly, a very flat Side view of rotated index finger. “A” will be the result. Be careful (Viewed from right hand side, original position dotted) the fingers do not “bunch” when making this movement. A common fault is middle finger sitting on top of the index when rotation of wrist is attempted. Observe this carefully and try to discourage “bunching.”

“ A” key First ring (N.B. note the amount of clearance between index finger and the first ring key)

Finger position seen from above

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Thumb rests

The ideal right hand finger position is where the index finger and thumb are almost opposite each other

Pain in the thumb and wrist (right hand)

Not everyone suffers with thumb problems, but eventually if you are a teacher, you may encounter some of these phenomena. The commonest problem in my experience is a low thumb rest. This can cause tendon inflammation and general tension in the hands; causing “clawing” of the hand whilst playing (i.e. the hand shape becomes like a talon and is very tense, creating pain in the wrist and ultimately the entire forearm). The remedy for this is to have the thumb rest moved higher by a good repair technician, ideally, the thumb and index (forefinger) should be almost opposite each other. Everyone will have different hand positions but it is imperative that holding the instrument should never cause pain. If you prefer a ready-made gadget to help correct the hand position (R.H.) then there are several thumb rests on the market. I often recommend the student model made by Ton Kooiman called the “Etude” that I have tried which really helps the hand into the most comfortable position and is relatively inexpensive, made of lightweight plastic. The fact that it is plastic means it will not last forever and might at some stage need replacing but the advantages are that you can spread the weight of the instrument more evenly and remove tension from the hand. There is plenty of adjustment available so most hand sizes and shapes would benefit from this thumb rest. If you do choose to adopt the plastic version of the Kooiman thumb rest treat it carefully. I have known some young players to break them after just a few months when, if treated with care they could last for years. There is a more robust (and more expensive) model available. Some discomfort whilst changing hand position to a new corrected position may occur but this is because different muscles are being used. Pain should never be tolerated long term. If it persists, consult a medically qualified specialist, pain is a warning that something is wrong, ignore it at your peril.

Thumb cushions

A callous on the thumb is another painful phenomenon for young clarinettists. Avoid this by using a thumb cushion made of rubber, available at any good music shop. Ensure that if you use a thumb cushion, it does not lower the thumb into the undesirable position discussed earlier causing tension and ultimately injury to the hand. I find some thumb cushions are too thick and cause more problems than they cure. Homemade thumb cushions can be manufactured by cutting a piece of rubber piping and fitting this over the thumb rest. This can be both comfortable and economical. Generally, rubber tubing creates a thinner thumb cushion, which I prefer.

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Gripping the clarinet too hard

This is another common cause of pain in the thumb, back of the hand and forearm. Gripping tightly, can cause strain on the tendons and the back of the hand generally and can result in soreness in the back of the hand, elbow joint and ultimately the neck. A more open hand position can solve this problem. A more comfortable hand position can be achieved by making the thumb rest plate deeper and by making the body of the clarinet thicker by building up the outer wall of the instrument with cork or some other material. (Alternatively, the Kooiman thumb rest, or some other device can be employed). This will allow the fingers greater independence and enable them to function in a relaxed manner ultimately allowing more control. Remember that the clarinet can weigh several pounds supported on a relatively weak thumb joint, often for long periods, so spreading the weight makes sense.

Slings

Sometimes a young player may have problems with holding the clarinet for long periods or perhaps has sustained an injury. In these cases, it is advisable to consider the use of a support known as a sling to help cope with this. There are many types on the market so seek advice from the teacher. In my experience, slings often help for a while until the student gains the strength to support the clarinet (or in the case of injury, recover). Sometimes I have given a pupil a sling to help support the clarinet but found the pupil cannot be bothered to attach it. In this case, it is worth remembering that small children lose patience with a complex gadget that is difficult to attach. Younger players requiring a sling would be better off with a simple support than some of the more expensive models, whilst being ergonomically efficient take longer to fit on to the clarinet. There are several makes of sling available. If you choose to use one for yourself or a pupil make sure that it does the job of supporting the weight and is completely comfortable.

Poor note recognition, inability to learn rhythms.

This is one of the most frustrating problems for a teacher and pupil. I have taught several dyslexic players who simply find it impossible to interpret what they see on the page correctly. Even if a player is not dyslexic there can be difficulty learning the complex language of music. It is vital when reading that the eyes move ahead of the notes all the time, most poor readers stop the eyes and get fixed, reading the note they are focused on, instead of looking at the music ahead. The consequence of this is evident in stilted, unconnected playing lacking in coherent rhythm. Learning an instrument requires concentration on many things at once. Inevitably concentrating on one aspect will cause a problem elsewhere to occur. Teaching the practical elements of clarinet playing, rudiments, theory and aural in the same lesson is often very difficult. Whilst some elementary rudiments may need to be taught hand in hand with the fingerings, embouchure etc., it is a great advantage if theory and aural is studied in detail in a separate lesson.

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Music at Site

There is an excellent teaching aid called Music at Site, which will prove extremely valuable to teachers and students of all standards. There is no substitute for patience and repetition but there is a computer programme on C.D. invented by a fellow professional clarinettist and friend, Alistair Logan. The programme is Music at Site and is available from several major musical retailers or direct from Mr. Logan. There is so much information and activity based work in this C.D. that I would have difficulty describing it in the confines of this book. Anyone wishing to improve their note recognition, sight- reading, rhythm, theory, aural and rudiments should have this C.D. There are dictionaries of terms in several languages and it is accessible to all age groups with musical games, crosswords, and tests for all standards from grade 0 to Diploma. There are instrumental fingerings at the click of the mouse and tips and helpful tutorials for each section. The scales and arpeggios of The Associated Board and other examination bodies are written out in order for easy accessibility. The cost of the disc is incredibly modest which is why I endorse the product so positively. Alistair is a musician who wants everyone to be able to afford to improve his or her skills and this programme certainly achieves this. I have even had some success in helping dyslexic clarinettists, using Music at site. A free download-demonstration is available from the music at sight link to my web site. This is an early version that has only a selection of the features on the latest version but it gives an insight into this tremendously useful product.

Shared knowledge

Encourage pupils to join clarinet societies and become part of an enormously rich fraternity of players willing to share their knowledge. There are several major societies: The Clarinet and Saxophone Society of Great Britain, The International Clarinet Association, The World Clarinet Alliance and numerous others throughout the world. Many have web sites and a wealth of free information. If you visit the clarinet web site mentioned earlier in this book, you will find links to some of these organisations.

Intonation problems

Intonation can be a problem, especially for the beginner. There are no perfectly in tune clarinets built, clarinet intonation is at best a compromise. I suggest that long notes played each day as part of a daily routine are the best way to train the ear and improve stamina. I often played for fifteen minutes a day just on long notes to develop my embouchure, breath control, stamina intonation and sound. Use a digital tuner to check intonation and to train the ear. It is a good idea to learn to sing the music in front of you and to pitch the notes accurately. Music at site will help this and other aspects of aural training. (More about intonation later.)

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Speaker tubes

Make certain the speaker tube does not intrude into the bore of the clarinet too far. If it does it can adversely affect the tuning and clarity of some notes. A repair technician will advise if the tube needs replacing, or shortening.

Undercutting

Not all clarinets have clear throat notes. Clarity depends on the amount of undercutting, pad clearance and materials from which the pads are made. Personally, I prefer tone holes to be undercut as it gives tonal variety. Undercutting is a technique employed by clarinet manufacturers to improve the sound characteristics of an instrument. A hole that is badly undercut can cause notes to lack clarity and focus, and adversely affect intonation.

Padding

Most pads are made from a skin of paper - like material sometimes known as fish - skin. More expensive versions come in leather - either calf or kid skin (goat - not the colloquial term for child!) and are sometimes treated with silicone to make them water - resistant. Cork pads, are widely used on, register keys, and on “G sharp,” “A” and side keys that can be prone to water problems. Many players like them, as the hard surface of cork tends to reflect the sound rather than absorbing it. In my experience, as long as there is enough clearance between pad and hole, other materials work equally well. Cork pads are noisy on closure, require firm spring tensions, and can be difficult to seat to obtain an airtight closure.

Superpads

One solution to the problem of percussive noise from pads is “Superpads,” (which I use) invented by Eddie Ashton of Woodwind & Co (see the link on my web site). These pads give a superior seal, allow light spring tensions to be used, and are very quiet on closure, allowing more of the sound to be heard by the player. Another advantage is that Superpads tolerate tone holes that are not perfectly level on the rim of the tone hole, thus improving the seal on worn instruments. Currently, the only way to get Superpads fitted is to take or send your instrument to Eddie Ashton to have them installed. Eddie also produced an excellent booklet on the subject of maintenance and repair in the "Dr Downing's" series from Woodwind and Co. Address available from a direct email link from my website. Eddie recently had web site designed and has kindly agreed to keep a small stock of this publication for sale. Eddie's website is: http//www.woodwindco.com

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Teaching Tips (Recap of section 2)

KEEP IT SIMPLE (NOT TOO MANY WORDS - ESPECIALLY COMPLEX ONES)

ENCOURAGE AND PRAISE (WHEN IT IS DESERVED)

BE PATIENT (REPETITION IS PART OF TEACHING AND CAN BECOME FRUSTRATING)

NEVER INTIMIDATE-PUTTING PRESSURE ON PUPILS CAUSES THEM TO FEEL INSECURE AND MAKE EVEN MORE MISTAKES

NEVER PATRONIZE (ALWAYS TREAT STUDENTS AS EQUALS EVEN THE YOUNGEST ONES)

LISTEN TO THE STUDENT (YOU MAY LEARN SOMETHING)

CONSTRUCTIVELY OBSERVE (CRITICISM HURTS)

DEMONSTRATE WELL (POOR PLAYING DOESN’T CONVINCE THE STUDENT YOUR IDEAS WORK)

IMAGINE YOURSELF IN THE STUDENT’S PLACE (WE HAVE ALL BEEN THERE)

DON’T CREATE CLONES (IMITATION IS A USEFUL TEACHING TECHNIQUE BUT NOBODY WANTS TO HEAR A COPYCAT)

ADJUST YOUR APPROACH TO EACH AND EVERY STUDENT (DO NOT TEACH LIKE A MACHINE)

LET THE STUDENT FORM THEIR OWN INTERPRETATIONS (BUT SHOW THEM THE POSSIBILITIES AND RULES)

CREATE A WARM UP FOR EACH INDIVIDUAL THAT WORKS ALL ASPECTS OF TECHNIQUE AND DOES NOT WASTE TIME 39

SECTION THREE - Embouchure, Blowing, and Articulation.

Embouchure and tongue

After demonstrating how to assemble the instrument I usually take the mouthpiece and barrel and begin teaching the “face funnel” so that a new pupil can have fun with a few squeaks and squawks. It is essential to funnel the air efficiently. I generally teach the embouchure almost simultaneously with breathing as the two are inextricably linked.

The tongue not only articulates but helps form the sound

It is vital that the face muscles form a rigid funnel for the air. I call this the “face funnel”. To achieve this, the tongue needs to be in the correct position in the mouth to enable the embouchure to function correctly. Simply form the vowel sound EE whilst smiling combined with the sound “EU” (as pronounced in the word “jeu” or “feu” in French). This is created by gently pushing inward with the muscles at the sides of the mouth (N.B. not forwards) and will bring the tongue into the desired position forming a “flat chin”, no bulges. I often tell pupils to try to smile and whistle at the same time. This enables the sets of muscles in the face to act as a funnel (rather like pronouncing “If” whilst smiling, thus directing the air downward (as if blowing cold air on a spoonful of hot food). This creates a narrowing of the space between tongue and roof of the mouth, accelerating the air - rather like squeezing the end of a hosepipe to make the water come out in a jet. (See hosepipe analogy.) More advanced players will be able to raise or lower the tongue to colour the sound and facilitate legato leaps up and down. In fact it is a good idea to think of the tongue as an elevator (lift in U.K. English). The higher the note, the higher the tongue and vice versa (although never let the tongue go through the “basement floor” unless you deliberately want to create the flattest most unfocused sound for a specific effect). Experimentation with subtle tongue position changes will reveal many different colours and textures of sound.

The hosepipe analogy

Imagine the air coming up from your lungs is similar to the water in a hosepipe. If you squeeze the end of the hosepipe, the water comes out faster but the pressure in the water supply remains constant. Similarly, the tongue squeezes the air between tongue and the roof of the mouth, effectively funnelling the air in a jet into the mouthpiece. This air is fast and efficient because it enables less air to be used and therefore gives greater breath control. The air entering the tube with this method is a thinner, faster, stream than the unfocused air that is used with a low tongue position. The air coming up from the lungs remains at a constant pressure. The mouthpiece should be inserted into the narrow opening created between the lips only when the correct face “funnel” can be formed in a relaxed, natural way. This may take a considerable amount of repetition and patience. 40

Use a video camera to monitor embouchure development

Once the pupil clearly understands how to form the embouchure, a properly supported air column can be taught (See Blowing - pressurised air, page 47). A mirror is useful to the student to keep an eye on the embouchure during practice. If you own a video camera, this is an invaluable tool to record the embouchure and discuss it with the pupil. It should also be used to study the embouchure during tongued passages to ensure that the lower jaw and lips are not moving whilst tonguing.

The jaw must not bite upwards or move whilst playing

The lower jaw is capable of exerting enormous pressure and will, if not corrected early on, create dreadful problems. Biting is a natural phenomenon when the mouthpiece is put in the mouth but is counter productive because it creates tension and causes pain and a poor tone. It is important that the face muscles keep the jaw in a relaxed, open position to combat the urge to bite.

Biting

Many clarinettists, fold too much of the lip over the teeth in an attempt to cushion the pain, ironically, caused by biting. Explain the correct method clearly, and tone and articulation will develop naturally, correctly and rapidly. Sadly, too much lip cushioning the teeth causes many problems including muffled tone, poor articulation, squeaking, and lack of stamina. Players that bite are paradoxically trying to accelerate the air between reed and mouthpiece facing-curve, in a vain attempt to reach the elusive high notes. The idea to accelerate the air is good but it can only work by using the method described earlier.

Squeaking

A badly formed, incorrect embouchure (as well as problems with the sealing of the clarinet’s pads, bent keys, broken springs and the adjusting screw on the “A” key being too tight) is the cause of most squeaks. Squeaks are also caused by; puffing cheeks, poor hand positions, too much mouthpiece in the mouth, excess movement whilst playing, teeth touching the reed, incorrect fingerings, failure to cover one or more holes, fingers leaning against side keys, broken or split reed, (often caused by the pupil looking at the fingering and smashing the reed against the shoulder, or carelessness in putting on the ligature or reed cap). Squeaks are not all bad and an understanding of what squeaks are is actually helpful. (More about squeaks in the “harmonics” section.) If the teacher can show how to obtain high notes without force, using harmonics and the knowledge of how to use the “squeaks” to one’s advantage, then the pupil will have no fear of high notes.

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Diagram 1. Incorrect embouchure

Lips, Teeth, Jaw, Tongue, Mouth Cavity. Side - view of the incorrect embouchure. Too much lip in contact with the reed. The pale blue arrows in the mouth cavity indicate the diffused airflow and unfocused air stream.

Low tongue position creates a large mouth cavity, incorrect direction of air, diffused, slow air speed, unfocused sound, poor pitch control, strong undertones when articulating, and inability to get the highest register with clarity and consistency. Top teeth

Top lip Reed

Mouthpiece Lower lip Lower teeth

Bulging chin

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Bulging chin and excessive lip over the teeth

It is clear in Diagram 1 that too much of the lower lip and bulging chin beneath the lip is in contact with the reed. This is probably the commonest fault with embouchure formation. Excessive jaw pressure and lip folded over teeth results in poor stamina, muffled sound, squeaking, stifled, strangulated, thin sounding upper register or worse, no upper register whatsoever and also strong undertones when articulating. There are many facial muscles governing the repertoire of expressions of each individual. In clarinet playing it is the facial muscles that prevent the “face funnel” from collapsing and creating a diffused, inefficient air stream. The muscles at the side of the mouth perform an important task by applying pressure inwards to counter the lateral and upward pull the EE vowel creates. As stated earlier this feels like trying to whistle and smile simultaneously. (N.B. I have repeated my “face funnel” analogy several times in different parts of this book and I hope this stresses the importance of getting this element fixed correctly at an early stage).

Keep the face muscles relaxed but firm

Whilst the face muscles need to be firm enough to form the funnel, they should never feel tight. At first, the pupil, whilst learning a new embouchure, may experience tiredness and a little aching in the facial muscles. If you or your pupils feel that too much tension is the result, relax the upper facial “smile” to enable the student to play without getting tired. No matter how tired the face muscles may feel a little tiredness is by far better than biting. Once the muscles have been trained, the face will no longer feel tired; it is only in the transitional stages that any discomfort will be felt. At this point it is a good idea to remember the involvement of the R.H. thumb; it must keep a gentle pressure upwards on the embouchure. This will wedge the mouthpiece in and if done correctly, in conjunction with muscle pressure at the sides of the mouth, and a gentle smile, will form an embouchure that has little or no upward jaw pressure (bite). (Note the position of the jaw in Diagram 2 on next page)

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Diagram 2. Correct embouchure

Side - view of the correct embouchure shape - minimum surface area of lip in contact with the reed and minimal pressure on the reed. Note the direction of the airflow, air is actually directed into the mouthpiece in a downward direction focusing the air and hence the sound. Tip of tongue remains ready to articulate near reed.

High tongue position

Top teeth

Top lip

Reed High, slightly drawn back tongue position creates the correct direction and speed of air to focus the sound. Mouthpiece It helps to eliminate undertones; enables ease of production for the Lower lip highest register, and offers Lower teeth greater stamina and pitch control.

Hollow, flat chin

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Correcting a badly formed embouchure.

Never attempt difficult pieces when making embouchure changes. Specific practice needs to target the necessary change. Use a mirror or video camera to check the embouchure function correctly.

Practice technical problems separately in a different session

It is a good idea to revert to playing simple tunes or a simple new piece to learn the new embouchure. Scales from memory are an ideal vehicle whilst learning a new embouchure or correcting the one you have. Concentrate on the face alone and look in a mirror to check continuously that no biting or collapse of the embouchure has happened. Always maintain a flat chin. Correcting the problems in an embouchure require time, patience and considerable self-discipline. Not only will greater clarity and focus appear in the sound but also improved stamina and greater breath control.

Another method of forming the embouchure

I have described one way to form the embouchure earlier. Here is another. Pucker the lips into an OOH shape – as if surprised. Then, retaining this position, smile and simultaneously draw the tongue back into the EE position. This should raise the muscles in the cheeks to form a smile. The sides of the mouth must resist being drawn and stretched into an ear to ear grin. The two sets of muscles, the upper (cheeks), and lower (sides), pull gently against one another and should be in balance, to eliminate tension. This should create the flat chin and firm the sides of the face into a funnel. Before trying to insert the mouthpiece into the “face funnel”, experiment using the thumb, just as a small child sucks its thumb. Do not open the mouth to do this but form the opening as described earlier. The nail (or on the mouthpiece, the reed) should come in contact with the lower lip, the fleshy part of the thumb firmly wedged into the top teeth, sides of the mouth pushed inward N.B. not forwards. When you try this you will feel that the lower jaw does not exert any pressure at all but the sides of the mouth and R.H. thumb do apply gentle pressure. Practice wedging the thumb into this aperture many times before trying the same with the mouthpiece. The lower lip forms a solid platform for the reed but must not be drawn back over the teeth at this stage. The next step is to wedge the mouthpiece into the gap, this will automatically push a little of the lip over the teeth. Do not allow the mouthpiece to push in too far, causing excessive amounts of lip folded over the teeth. Try never to open and close the mouth on to the mouthpiece as this immediately starts the biting process. Clarinettists breathe in via the mouth, not the nose (unless you are able to perform circular breathing). This in itself can cause problems.

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Opening the mouth too far to inhale can cause biting

When taking in breath it is essential not to open the sides of the mouth too wide as this can cause biting. Always wedge the mouthpiece into the small opening made, applying inwards pressure at the sides of the mouth and upward thumb pressure to prevent the mouthpiece and clarinet wobbling. Try blowing into the mouthpiece at the beginning of the process of inserting it into the embouchure, maintaining a steady downward air stream. You will be surprised how much diaphragm pressure is required to produce a sound with very little mouthpiece in the mouth. By simply increasing thumb pressure (so the clarinet mouthpiece is wedged further in) the sound will improve dramatically, but maintain the same diaphragm pressure.

Recorder players often forget that the clarinet requires more air pressure

At first it can seem an effort to the beginner (who may have started on the recorder) to get the sound from a clarinet but do not be tempted to revert to excessively soft reeds. Beginners often clamp their lips around the mouthpiece with force and struggle to get any sound at all because they are effectively stopping the reed from vibrating. A more relaxed lower lip will allow the sound to emerge more easily. Make sure the reed responds well, blows freely, neither too soft nor too resistant.

Doubling – Avoid transferring the Sax embouchure to the clarinet

Saxophone and Bass-clarinet are more forgiving of an incorrect embouchure because of the size of reed. Some Sax players have embouchures similar to that illustrated in Diagram 1. and apply this to the clarinet, which often results in squeaking. Clarinet embouchure requires the smallest surface area of lip on the reed for optimum results. If a clarinettist wants to learn to “double” on Sax or Bass clarinet, make sure the clarinet embouchure is secure before he or she begins lessons on these instruments.

Volume control, sound quality, legato

Playing “piano” is similar to playing “forte”, but through a much smaller gap in the mouth. Playing softly requires the same airspeed and support from the face diaphragm, and respiratory muscles as loud playing. The aperture between the lips must be controlled with great care. The pressure applied to the sides of the mouth by the muscles, governs the size of the aperture, and quantity of air, therefore the volume and focus of the sound produced. Pupils must always focus the sound even at the quietest dynamic level. Generally, the louder the dynamic the firmer the face needs to be. Legato is improved if the lower lip is relaxed. Legato is just as important as staccato so make sure that slurring is smooth and completely controlled without discernible gaps between the notes. If a player finds smooth slurring difficult then usually the problem is lower lip tension.

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Direction of pressure exerted by the face muscles

Upper cheek muscles form a gentle smile and the tongue pronounces EE

Muscles at the side of the mouth push inward slightly and pull backwards gently .

Muscles at the side of the mouth push inward slightly and pull backwards The mouth opening should be as small as gently. possible – imagine you The lower jaw is pulled (N.B. Not forwards) are trying to blow gently down, lower teeth through a drinking flush with the gums, forming straw. The size of the a tight - skinned flat chin. opening combined with the tension of the facial muscles governs volume and focus in the sound.

This basic diagram shows the direction in which the muscles should push or pull (gently) to form a correct embouchure. If the embouchure is formed correctly the skin of the chin, (the area directly below the lower lip) will be drawn against the teeth and bone of the lower jaw. The problem with beginners is that they often find it difficult to hold the muscle positions and blow simultaneously. This results in puffed cheeks and should not be accepted. Constant vigilance from the teacher combined with gentle but positive reminders to pronounce the letter E and gentle smile will correct the problem eventually. It is imperative that the teacher is vigilant, to ensure that the EE vowel is not causing the muscles to tighten the lips excessively, resulting in biting. The balance of push and pull between EE and OOH should be carefully monitored. 47

Blowing - releasing air from the “balloon” into the clarinet

Clarinet playing requires great quantities of air to be inhaled and expelled rapidly. To do this we need to relax the diaphragm as much as possible. Gently push the lower abdomen out and downwards as if inflating a balloon in the abdomen. Maintaining this position, fill the entire lung space and hold the breath in lungs and mouth until it is bursting to escape. The fully inflated lungs combined with the respiratory muscles create a feeling of gentle pressure on the ribcage and lower abdomen. It is important to maintain this feeling of pressure not only when inhaling, but also when we expel air. The feeling created when pressurising the air column should be similar to the tension felt if your abdomen is trying to hold up your trousers without a belt. Whilst playing clarinet we need to maintain this gentle pressure to enable rapid intake and expulsion of breath and to supply the necessary breath pressure to form a centred clarinet tone. With the tongue in the position described in the section on embouchure, direct the pressurized jet of air through the middle of the mouth into the clarinet in a controlled exhalation, using the word shape “IF” (EEF or in reverse - FEE) . Do not allow cheeks to puff out.

Balloons and elastic bands

Similarly, imagine the lungs are balloons, encased in an oval cage (ribcage) with an elastic band (the diaphragm) directly below. When the balloons are inflated, pressure is applied to the elastic band, which is then forced downward. The cage expands and one feels that holding the air in is an effort. If we maintain the expanded position of the elastic band (i.e. keep the abdomen distended), it enables the player to inhale and expel air more quickly. This feels somewhat unnatural because the diaphragm should return automatically to its former position on exhalation, i.e. move upwards. Hold the breath in for a few seconds before exhaling, then release it in a controlled exhalation. Visualise a balloon on the bell of the clarinet that has to be continuously inflated. The diaphragm can be allowed to relax when the player is breathing normally and not required to be blowing (exhaling pressurised air) and producing clarinet tone. Air must not be forced into the clarinet as this creates a harsh sound. I frequently tell students “sing”, even when playing “forte”.

Warm up, control the breathing

Before playing, always do a warm up – deep breathing and a few stretching exercises. Controlled breathing is crucial to controlling nerves. Play some long notes and then some chromatics to loosen the fingers. Make sure the instrument is warmed up and is playing in tune with itself. Avoid tension. Do not allow the lower jaw to bite upwards, simply concentrate on the top teeth on the mouthpiece and a very slight upward pressure with the RH thumb so that the mouthpiece and reed do not wobble in the mouth. 48

Intonation is governed by many variables

There are many variables to consider in the subject of intonation: tongue position, airspeed, reed strength, pressure applied to reed, mouthpiece design, tuning scale of the instrument and length of socket (or barrel, as it is known in Britain). Tuning is also affected by the ambient room temperature. Hot rooms can cause clarinets to be sharp cold rooms can cause them to be flat

Testing pitch with a digital tuner

Unless you have perfect pitch at the required pitch level of the orchestra or ensemble in which you play, you will need to train your ears to tell whether you are sharp or flat. Even players with perfect pitch are at the mercy of the deficiencies of the instrument. Use a digital tuner to ascertain where the pitch of the note should be.

Test one.

1. Switch on the tuner and play a note, sustain it, making sure that it is perfectly in tune according to the tuner. (You may need to adjust the position of the barrel – either pull out, or push in to do this.) 2. Play the note repeatedly, to check the pitch and remember the exact airspeed, tongue position, lip pressure etc., to create the correctly tuned pitch. 3. Next, close the eyes, play the note, and then open them –check with the tuner. (If the note is not in tune, do not alter it to be correct with the tuner, but note how sharp or flat it is.) Repeat the test if the tuning is incorrect, until a consistently well - tuned note is achieved.)

Test two.

1. Play a note; check it is correct with the tuner. Turn away from the tuner so that you cannot see it, close your eyes, and play the same note, repeat it several times and play a scale starting and ending on that note. 2. Turn back to the tuner, (eyes closed) and open the eyes to test the note. (Do not adjust the pitch with the lips.)

Test three.

1. Turn on the tuner and play a scale, making sure every degree of the scale is in tune. 2. Then, close your eyes and repeat this. When you are satisfied that the scale is in tune, open your eyes, look at the tuner and try the scale again. With practise, one can train the ears to pitch the degrees of the scale precisely in the same place every time.

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Scales and arpeggios are the best tuning aid. Slow scales and arpeggios are the best means of improving tuning, combined with a digital tuner. Scales must be part of a daily regime for serious clarinettists.

Test four.

Another revealing exercise is to play a note to the tuner, close the eyes, and choose random notes to slur to and then return to the original note. For example; close your eyes play open “G”, slur up to – “E” in the clarion register, then return to “G” repeating the (up to “E” and down to “G”) slur this interval several times, finally coming to rest on the original “G” (or rest on the upper note depending on which note is being tested). Then, whilst sustaining the original note, open the eyes to check whether it is still in tune. Alternate the note to which you slur (in subsequent exercises) until you have covered the entire range of the instrument. Log all tuning-practice-sessions, using a simple grid, and list problem notes for specific attention. There will inevitably be some notes on the clarinet that are at best a compromise. The clarinet over-blows at the twelfth and this is very difficult to tune accurately. It is easy to deceive one’s ears especially if one has used an inferior instrument for many years and the ear has become accustomed to hearing the intervals played inaccurately. Remember these are tests, so if you “bend” the notes to make them in tune according to the tuner, they will be pointless. One needs to listen very carefully indeed to the pitch to maintain accuracy, but if checked and tested each day it will improve. Long note practice is essential to control pitch. There is no substitute for the human ear and the tuner is only a guide. Never rely upon the tuner alone to check intonation, listen critically. Fortunately, instrument manufacturers now seem to have improved clarinet intonation considerably. Tuning properly requires great care and patient repetition - the results will reward the patient clarinettist.

Tuning with other instruments

Frequently we have to accommodate the inaccurate tuning of other players and deliberately play notes out of tune to be in tune with others. Once confident that you can pitch notes in tune, practise “bending” notes with the tuner to see how subtly one can return to the correct pitch of a note having deliberately made it sharp or flat. This is quite an art but most professionals do this automatically. This is also a good exercise for vibrato.

Equal temperament, tuning to a piano

When tuning to a fixed pitch instrument such as piano you will find as you ascend in the high register the notes need to be pitched progressively flatter. This is because pianos are tuned to the equal temperament scale and most clarinets are not built to play in this way. The low notes of the piano will usually sound sharper than those on the clarinet. Try playing a low note on the piano and then the same note four or five octaves higher. I guarantee it will sound odd to the ears of a clarinettist. 50

Throat notes

These are the notes that are in the range from open G to Bb. (using the A key and the register key) Throat notes are the commonest culprits on the clarinet for tuning problems because they are so easy to play out of tune. Try to always focus throat notes using fast air speed and correct tongue position, checking them with the tuner. Train your ears to recognise when you are beginning to go sharp or flat and use tongue, lips and facial muscles to fix the tuning rather than continuously pushing or pulling the barrel joint. It is necessary to pull out the barrel from time to time but most adjustment this way depends upon how many rests are in the music. Often there is no time to pull out, so a flexible embouchure and reed is desirable. If you do pull the barrel out, (if you are in a band or orchestra) remember to push it in again just a little if you have a long group of rests or a tacet movement, particularly if you are in a cold room. Many inexperienced players adjust their tuning and then put the clarinet on the stand during rests only to find they are flat when next they are required to play.

Resonance fingerings

Adding or subtracting fingers not only improves the pitch, but also the sound of throat notes. We call these added fingers resonance fingerings. Experiment with “A” and “Bb” to see which finger combination is the best sound and most accurate intonation. The fingerings given on the next page are the basic resonance fingerings many players use, there are many others but these are the most important notes to enhance. Adding the two right hand fingers enhances open “G.” The “A” above it is often improved by adding left hand and right hand fingers, and the Bb is similarly enhanced, but you may not require all the holes to be closed - sometimes this can be too flat in pitch. (Holes coloured black are closed, keys that are black are to be pressed.) If you learn to use resonance fingerings all the time, you will most probably need the “A” and “G sharp” keys to be bent upwards slightly, to create more clearance between pads and holes. This produces a clearer, less muffled sound, and improved focus and intonation. Bending the keys to give more clearance sharpens the note, and resonance fingerings generally speaking, give a fuller, darker quality, and can sound flat unless the keys have been bent open a little to compensate for this. It is best to have this done by an experienced repairman, if you try doing this yourself you may break a key, especially if your clarinet is an inexpensive model and the base - metal of the key is not a form of solid silver (e.g. German Silver). It is really worth the extra effort to learn to use (and teach the use of) resonance fingerings, not only do they improve the tone but in many instances facilitate difficult technical passages by easing the transition from note to note, and chalumeau to clarion (or clarinet) register.

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(Resonance fingerings continued)

Register key and back thumb hole open for Bb.

Open “G” “A” above open “G” “Bb” above “A.”

The Top number of Joint fingers and keys added Left is optional. Hand “Bb”works well without the added (arrowed) key and fingers, but Lower try adding Joint them one Right by one, to see how Hand they affect the pitch and clarity. Try finding the resonance fingerings that work best on your instrument.

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Articulation

Many players do not clearly understand which part of the tongue to use when articulating. The tip of the tongue when pronouncing “T” or “D” touches the palate behind the teeth. When the mouthpiece is inserted, the tongue cannot comfortably touch the palate, instead it comes into contact with the reed, but the same segment of tongue is used (the last few millimeters on the top at the tip). As soon as possible after teaching the embouchure and the first notes, (if the pupil has grasped the formation of the embouchure) ask the pupil to put the tip of the tongue against the reed (without blowing) and to withdraw it quickly and then immediately replace it. (N.B. Not all pupils are capable of grasping the concept of tonguing early on and it is very much a matter for the individual teacher to decide if the pupil is able to cope with this.) This produces a very quiet sound similar to “teet” or “deed.” (I usually do this with just the mouthpiece and barrel joint to enable the pupil the freedom of not having to support the weight of the clarinet whilst concentrating on learning the basic articulation). The next step is to ask the student to fill the lungs and practice using the tongue to start and stop the air going into the clarinet. Then, get the pupil to divide a long note into segments using the tongue to start and stop each note. This begins the concept of starting and stopping the sound using the tongue. It is important to stress that the tongue must not push forcefully into the reed but is simply withdrawn quickly and then immediately replaced in a very small movement, moving only the last centimetre (approx.) of the tongue.

Imagine the reed is red hot

I often tell my students to imagine the reed is red hot so the most fleeting contact is required or else one gets burnt! It is imperative that the pupil touches the reed with the tongue and understands that the tongue can start and stop the vibration of the reed and hence the sound, acting like a valve or tap. Every child or indeed, adult beginner is an individual and therefore will have different concentration levels. Some may grasp a great deal with ease in a first lesson while others may progress more slowly. I must stress at this point that the “quick learners” are not always the most musically talented and that young children sometimes progress more slowly than older, more developed children and adults.

Good articulation is linked to breath control and airspeed

Good quality articulation requires constant, pressurised air, daily practise and patience. Articulation is inextricably tied to embouchure and breathing, and works best if the blowing method is correct. Fast vibration of the reed is necessary to enable efficient tonguing. Practise articulated passages first in a supported legato. When the passage has been mastered in legato, it can then be attempted staccato. During staccato passages, the tongue must be relaxed and only the very tip should be employed. Frequently I have encountered players who do not support the air pressure in all registers. It is very important to maintain the pressure on the air

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(articulation continued) column in all registers not just the high register. Generally the tone quality across the registers needs to be uniform and without discernible bumps as the breaks are crossed. When articulating across the breaks it is even more difficult to maintain evenness of breath and sound quality. One of the commonest problems is losing focus in the low register when coming from the high register.

Practise without the mouthpiece

Much good work can be done by practising without the instrument repeating the consonant D as rapidly and as controlled as possible in different rhythm patterns. Try groups of four, DiDiDiDi DiDiDiDi etc then in quintuplets DiDiDiDiDi DiDiDiDiDi and then in sextuplets DiDiDiDiDiDi DiDiDiDiDiDi (Pronounce the I as if in the word “DID”.) etc., etc. A light articulation is possible if the breath is fast and the embouchure correct. Unless these two criteria are met, articulation will at best be clumsy at worst ugly. The enemy is the undertone. Under tones are lower harmonics heard when the tongue, lips or jaw is putting too much pressure on the reed. Undertones are also present when there is insufficient speed of air caused by wrong tongue position often combined with lack of diaphragm support.

Keep relaxed when articulating - a tense tongue is a slow one

Never raise the shoulders, when inhaling as this causes tension, shallow breathing and ultimately hyperventilation and nervousness. Keep the tongue relaxed. Do not over stress the abdominal muscles, as this can cause tension throughout the body.

Keep lips and jaw still

When articulating keep the lips and jaw still. As I stated earlier, use a mirror or video camera to check that the embouchure is formed properly. It should not move at all, particularly when articulating. Never take more air than you require for playing the musical phrase in front of you, holding excess air in for long periods creates tension. If you do inadvertently take in too much air, make sure you exhale at the end of the phrase before refilling the lungs making sure that you are relaxed.

Articulation checklist

Keep jaw still – Watch in mirror - use a video camera to observe the embouchure. Sustain air pressure - tonguing requires constant, fast air especially in highest register. Only move the last segment of the tongue and keep it close to the reed. Keep the tongue relaxed. Do not “dig” the tongue into the reed; imagine the reed is “red hot” - try to tongue it without burning yourself. Get some good exercises Kell, Stark or similar, or create your own. The staccato exercise on the next page is very effective if used daily and practice is disciplined. Several professionals and numerous students have reported that their staccato improved by using my study daily. 54

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Articulation - variations of attack, rapid articulation

Variations in length, weight and tone colour of articulation should be considered very carefully. Memorise the staccato study and practise (a), lightly (b), with more weighted "stressed" notes, and (c), "martellato" or short "hammered" accents.

Rapid articulation

I find that when articulating rapidly it is best to imagine the tongue tip is rotating, constantly moving and never allowing it to become tense. Move the tongue down the reed slightly for each repeated articulation, do not try to touch the same point each time, this causes the tongue to tense, whereas allowing the tip to move up and down the reed allows the tongue to remain relaxed. Try at first without the mouthpiece, saying la,la,la,la (in groups of four), etc, rapidly. This will keep the tongue relaxed, then, try the Di,Di,Di,Di, as described earlier, insert the mouthpiece and practise, not too fast at first but concentrating on the tip being relaxed.

Mouthpiece

1st tongue release ("T" attack) 2nd ("D" attack for2nd, 3rd, 4th attacks) 3rd reed 4th (in group of 4)

The tongue should start near the tip, give a strong first attack, by releasing the tongue with a pronounced "T" then, each subsequent attack diminishes in strength becoming lighter using "D", but the breath remains fast.

Move only the tip of the tongue

Tongue Tongue further towards the window to obtain higher notes with greater ease Darker blue areas indicate the position for higher and highest notes.

The shaded, dark grey, area in the above diagram is the segment of tongue used in normal articulation. Some books advise "tip of the tongue at the tip of the reed" but this is ambiguous. The area marked on the reed in light blue near the tip is the usual area for articulation in chalumeau and clarion (or clarinet register), becoming lower, towards the "window" of the mouthpiece for progressively higher notes in "altissimo". It is worth repeating at this stage - keep the tongue relaxed and imagine the reed is red hot - only a fleeting contact is required. 56

Nerves - Preparation

Nervousness usually manifests itself by causing the performer to take too many breaths and to perspire excessively. Try to memorise difficult passages and practise them until they are really secure. It is worth remembering the adage – an amateur practises until he or she gets it right - a professional practises until he or she is consistently faultless. There are drugs and other remedies available to alleviate nerves but I do not recommend these unless all other methods have failed. Consult your doctor if you have a serious problem that does not respond to the suggested remedies below.

Prepare the lungs for exertion before a performance - warm them up

Deep breathing before playing, consciously relaxing, is a great way to prepare before a performance. The great violinist Menuhin was a great believer in the benefits of yoga and many yoga exercises are useful to musicians to help maintain supple joints. Some musicians meditate before performing. At least fifteen minutes of slow controlled breathing before playing a stressful concert will facilitate the whole process of controlling adrenalin, which if allowed to flow in excess, makes us feel nervous.

Breathing incorrectly can cause nervousness

Incorrect breathing causes tension and if the body is not relaxed the mind is usually also stressed. Ironically, trying too hard causes as many mistakes as a more relaxed approach where the emphasis is on enjoying the music. There are drugs available these days to help sufferers of nerves but my advice is avoid them and try to gain control of your nerves by natural means. Technical control is optimised if we can keep our adrenalin levels under control. Fear of failure is our worst enemy.

Performance – envisage success

Remember that the audience wants you to play well. Forget about mistakes that have already happened, the audience will forget them in seconds. Remember the old saying “today’s headlines are tomorrows fish and chip wrappers”. Focus on the music; let nothing distract you from your involvement with the music. Recordings today are often perfect representations of the work performed. Unfortunately the number of edits required to make a perfect recording is often considerable and ruins a spontaneous performance. Sadly, the resulting expectation of perfection from the audience often makes performers play in a cautious manner, often trying to impress with a technically flawless performance devoid of excitement and musicality. In my view a performance with a few flaws that has genuine musical integrity is far preferable to a boring flawless one. Always play with total commitment - if you are well prepared a few calculated risks can transform a good performance into a magical one.

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Memory and physical fitness are crucial

There is no better way to combat nerves than knowing your music from memory, after all nervousness causes loss of control, particularly in technical passages. To illustrate this, try thinking carefully about lifting a pen from the table. To carry out this action we first locate the pen with the eyes. Mentally we instruct thumb and forefinger to close, and then wrist and forearm to lift, tilt, and apply pressure with the pen onto the paper to write. You will find thinking about the action seems unnatural because we sometimes perform this action many times a day. The movements are much more fluent if we do not have to think about the process of commands. We call this non - thinking, “conditioning” or “conditioned reflex”.

Memorise difficult technical passages until they become automatic

Imagine someone throws an object towards you, and without thinking, one instinctively blinks and tries to catch or avoid the object. In an instant the brain has decided which action to be appropriate, depending on size, velocity, direction, form and feasibility of catching the object. In music there are millions of complex analyses before commands are employed. If we are not able to perform complex technical passages without thinking, then this must be achieved by constant painstaking repetition that we call practice. (The word for rehearsal in French is “repetition” most apt I think). Preparation is the key to success.

Mental practice

In the “Athletic Musician” (mentioned earlier in this book), there is a very interesting section on “mental practice”. When I was a child I often employed this technique whilst on my journey to the Royal Academy Junior Department. The journey lasted an hour or so and enabled me to focus on my playing. Sometimes I would sit with a pencil in my hands, fingering through the difficult passages in the pieces I was studying and planning to play to my teacher later. (On other occasions I simply read a comic!) This time spent each week in mental practice helped me develop a good musical memory. I often put the music away and attempted to memorise each musical phrase. I found the pencil proved a very useful instrument to train the fingers to remember the difficult passages and sequences of notes.

Physical fitness

Physical fitness is crucial to assisting the body to cope with the pressure of playing professionally, often it is difficult to find time to exercise but those that do will cope better and feel mentally more alert. Playing is physically demanding, particularly concertos or recitals. Even something simple like a daily walk or a few aerobic exercises to maintain a reasonable level of fitness will help counteract all the sitting we do. Try to keep as physically fit as possible. Avoid exercises that may strain wrists and forearms. Tendon and ligament injuries take a long time to heal. 58

Performance checklist

Prepare well, warm up, play to a plan, be involved with and enjoy the music.

The great violinist Heifetz would prepare 150%, so that he performed at virtually 100% accuracy during the concert. Before embarking on a performance make absolutely certain the clarinet is functioning at optimum efficiency – I usually completely remove all the keys, thoroughly oil, and silence mechanisms, check for weak springs and pads that may be worn. I always clean the speaker tube as a matter of routine before any major performance. Select a reed and several back – up reeds at least one week prior to the performance so that the cane is well played – in, and does not absorb excess moisture after fifteen minutes or so. Remember that if you have a concerto or a recital to play, the reed has considerable responsibility to deliver throughout, the required beautiful sound. Practise playing your concerto or recital programme several times through each day to improve stamina. Try playing in adverse conditions – such as a hot room or a room with little air to simulate the worst performance scenario. This may seem a little far-fetched but, Heifetz the great violin virtuoso (mentioned earlier) would often play in a heated room with a fur coat on, to simulate conditions of playing in hot countries on concert tours. Know your music - memorize if possible even if you do not perform from memory. In performance nervousness can wreck your composure so be well prepared. You need to build an understanding with colleagues you are going to perform with so schedule plenty of rehearsal time if conditions allow. There is no substitute for proper preparation. Warm up - learn to relax - visualise success and rewards - enjoy playing - do not allow self -doubt to enter your mind. Concentrate on breathing in a relaxed way. Perform what you have painstakingly rehearsed and adhere to your plan. Most mistakes are caused by lack of control induced by deviating from the disciplined performance that has been rehearsed. Do not worry about or focus on previous mistakes. If you make a mistake tell yourself you are only human. Concentrate on the music and ignore everything that may distract you. Convey enthusiasm and musical excitement and above all enjoy your performances. Remember everyone has good and bad days do not expect to be flawless and do not mentally punish yourself for mistakes. Learn from mistakes but do not have “post mortems” on performances, they are usually negative and pointless. If in an examination situation you feel nervous - do not worry - this is a human reaction - remember the examiner wants you to pass - no examiner enjoys giving low marks and most really enjoy a well - prepared candidate and will be lenient on mistakes if adequate preparation is evident.

59 A brief description of some advanced techniques Flutter tonguing, vibrato, glissando and lip flexibility, using harmonics to facilitate the upper register, Multiphonics.

Flutter tonguing requires the player to be able to roll the R with the tongue or the back of the throat. If you can master this then you are half way to learning the technique. Simply blow into the instrument as normal but do not allow the tongue to touch the reed. Keep the tongue raised, the tip pointing at the back of the top teeth and extremely relaxed. Roll the R by blowing fast air between the raised, relaxed, tip of the tongue and the hard palate just behind the teeth. With practice this will disturb the airflow and produce flutter tonguing. It is vital that the tongue is relaxed and the air is very fast and pressurised, using correct diaphragm support. Practise this firstly without the mouthpiece and produce a controlled, aggressively rolled R. The sound produced when mastered is very effective and several composers have utilised this technique in their works, notably Alban Berg in "Fier Stucke". Vibrato is the oscillation of the tone above and below the correct pitch in almost equal measure. I recommend lip vibrato as this seems to be the easiest to control and to teach. Start by taking the normal embouchure, blowing and then relaxing the tension on the lower lip and muscles at the side of the mouth. This should produce a drop in pitch. If it does not, then your embouchure is too tense. If the required drop in pitch occurs, increase facial muscle pressure (at the sides of the mouth) again until you make the note slightly sharp. Check this by using a tuner. Practice dropping and raising the pitch until you can gradually speed up the process and achieve discernible rhythmic patterns. Firstly raise and lower the pitch in crotchet beats, at about 60 per minute, this will give an exaggerated effect but if you slowly increase the tempo you can try doing triplets at crochet = 60 then, semiquavers, until you have complete control of speed and amplitude of the oscillation. Jazz vibrato is generally wider and faster than vibrato used for the music (for instance) of the Romantic era. I am very careful how and when I use vibrato. It should only be used when you have completely mastered the technique. It is well documented that Mozart liked the winds to use vibrato and Brahms was so inspired by the sound of Richard Muhlfeld who used vibrato that he wrote some of the finest music in the repertoire for him. It takes a long time to master where to use vibrato and where not. Some players produce a throat vibrato which is undesirable and sounds like a bleating sheep! Guard against using vibrato unconsciously and always be aware of when you are using it. Musical integrity is most important so be very careful that vibrato is not just a gimmick. Glissando literally means slide and that is just what it is. To begin try playing thumb C with the register key and thumb, then lower the tongue to create a marked drop in pitch. Combine this with excessive relaxation of the embouchure. This is the same as the exercise for vibrato except we take it to the extreme. Try to lower the pitch to somewhere around A or G (three fingers L.H.) if you can do this you are well on the way to achieving good lip flexibility. Having dropped the pitch, bring it back up to C again by raising the tongue and firming the embouchure. Now try starting on G and with a really low tongue and very loose embouchure try the scoop up to C but this time sliding the fingers off to the left to assist the upward rise in pitch as you firm the embouchure and raise the tongue. This is the beginning of glissando. To master the technique requires hours of patience. Few people manage more than a few tones at first but with practice you will be able to slide an octave at least.

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Using harmonics to facilitate the highest (Altissimo) register

N.B Do not teach the following if the embouchure is formed incorrectly.

Provided the embouchure is formed correctly this technique can be very useful. Try to play high D without the speaker or register key. This is similar to the description in the section on articulation, in which the tongue moves down the reed to produce the high notes more readily. This is easily achieved by taking in a little too much mouthpiece and blowing a very fast stream of air with a high tongue, tip lifted. By relaxing the side muscle pressure and lowering the tongue one can play the note we expect to get with no fingers i.e. open G. Repeat this exercise several times. Effectively we are learning to pivot the lip on the cusp of the opening of the facing curve and the intersecting point of the reed. Area around which the bottom lip pivots to obtain harmonics

The lip produces harmonics on the cusp of the facing curve where reed and mouthpiece meet. In the same way a novice squeaks, by inserting too much mouthpiece and without realising is sounding a harmonic. With practice the almost imperceptible pivoting movement of the lip on the cusp combined with subtle tongue position changes will be able to produce several harmonics on one fingering. Changes of airspeed also create different harmonics when combined with different tongue and lip positions Experiment – its fun!

Once mastered, this ability to sound the high D can be developed for many other notes. Later in this book you will find harmonics exercises that develop this ability and you will see that the fundamental note being “overblown” in the manner described above may produce several notes in different registers.

Multiphonics

Different combinations of fingerings, lip pressure, tongue position and airspeed produce multiple notes on the same fingering simultaneously. These sounds are multiphonics. They are based on harmonics and can be effective tools for the composer. The technique needs a great deal of practise and is mainly used in 20th century music and later. An excellent book on this subject was written by Bruno Bartolozzi published in 1967 by Oxford University Press and is called “New Sounds for Woodwinds”. This book illustrates numerous multiphonic sounds and “chords”. Since then several other books on “Avant Garde” techniques have been written. Chords can also be produced by singing down the clarinet and playing simultaneously, this technique is sometimes used in modern jazz and is very effective and flautists in the jazz world use it frequently. 61

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The Advanced Harmonics Exercise

There are numerous applications of harmonics in advanced playing. The example below is typical of an awkward slur, which becomes even more of a problem at speed. There are many pieces that use this interval in this octave and musically it is not always easy to make this slur as legato as we would like. In the Mozart Clarinet Quintet first movement in the second arpeggio this is the slur written at the top of the arpeggio. In Mozart’s day the clarinet was much more primitive in design and the use of an overblown G to obtain high D would have been normal – I even suspect Mozart knew this to be possible, after all his best friend was a clarinettist. The D is not perfectly in tune as an overblown note, but if used in conjunction with the register key the overblown G on certain clarinets can be almost perfectly in tune. I use this D frequently to enhance legato. Another example of where to use this is in the Brahms Eb Sonata where the first arpeggio to high D appears. As an overblown note it will sound a little flat, but if you can master the rotation of the thumb to add the register key to the overblown G it makes a beautifully smooth , in tune D and finishes the phrase without the awful bump one often hears at this point.

Another useful fingering based on harmonics - High Eb - above thumb C in the clarinet The thumb register. Finger C rotates and then slur to upwards to Eb by adding the play the thumb A key - this gives a key to obtain a smooth slur and is high overblown useful at speed. D.

Thumb C - register key open plus back thumb hole (closed).

These are just two examples of harmonics that can be very useful. With experimentation you will find many harmonic fingerings that are useful in performing slurs more smoothly. There is almost enough scope in this subject for me to write another book, the number of applications for the use of harmonics is so great.

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A warm-up that exercises as many techniques as possible in a short space of time is very useful for you and your pupils.

Sliver key upper joint

Sliver key lower joint

If you have this G sharp / D sharp key it is a good idea to incorporate the use of this into a daily warm up.

1. To begin, do some gentle stretching and physical warm-ups as recommended in the “Athletic musician”. 2. Long notes – I suggest 5-10minutes daily. 3. Slow scales played to a tuning machine, for ear training. 4. Try to include Major, Minor; Whole Tone scales as well as Diminished Sevenths and Broken Arpeggios. (As your pupils advance introduce scales in thirds and possibly fourths and fifths and Octaves.) 5. Staccato studies – the one in this book is recommended but follow the instructions very carefully. 6. Chromatic warm up. I suggest in addition to using the side keys, use the “Sliver Keys" (these keys are rarely used by players these days). These keys were used much more by players of the Simple or Albert system clarinet on which I learned as a child. I find that they facilitate many difficult passages. 7. Incorporate the use of the G sharp / D sharp alternative key - it is not normally fitted and takes time to learn to use if one is unfamiliar with it. Try to memorise the chromatic study and use it as a standard warm up with the staccato exercise every time you begin playing in a practise session or rehearsal. I often use these as my warm up for orchestral rehearsals; they take just a few minutes each day, start slowly and only do as much as you can play comfortably. The studies become quite difficult so play them slowly and carefully, listening to quality of tone, intonation, staccato and legato (in the chromatic). 8. Use music at site to improve sight reading.

If you have a warm up that you have memorised, it will prevent you from simply blowing mindlessly and wasting effort. Concentrate on improving the warm up every time you start a practise session.

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Questions to ask pupils in clinics, classes or exams

• What is the diaphragm and how is it used in clarinet playing? • What is pressurized air? • Describe how to form the embouchure • How do we create a jet of air? • In which direction should the air be propelled? • What is the function of the lips and jaw? • What is the ideal position of the right hand index and thumb? • What is a squeak? • How does the clarinet over - blow and how do the harmonics affect the high register of the clarinet. • What role does the thumb play? • How does articulation benefit from a correctly supported air stream? • How does the way we breathe affect (a) nerves (b) technical control? • Why is a warm up necessary? • What physical and mental warm ups can we do to help combat nerves • Name some gadgets that help the clarinettist • Quote some good tips for a teacher • Try to think of an original view to revolutionize the way we teach and learn - be prepared to illustrate this • Describe at least two methods of articulation

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CONCLUSION

It has taken me years to put down these thoughts on to paper. I sincerely hope that prospective teachers and clarinet students in general glean something from this book. I realise it is not an in-depth comprehensive guide but this was deliberate. I discovered that more clinically correct and comprehensive books on the subject tended to “lose” the non specialist clarinettist and whilst I hope this book will be adopted by some specialists it was my deliberate intention to try and simplify it as much as possible for the “Peripatetic” teacher who may be a bassoonist, flautist or an oboist first and a clarinettist second. It is because of years of inheriting students with embouchure, hand position and breathing problems that I decided to go ahead with this book despite the existence of such books as "The Educators Guide to the Clarinet" by Tom Ridenour. I began writing my book before reading and reviewing Tom's excellent book and instantly "shelved" the idea of producing my book. Years later I resurrected the idea but decided to whittle away as much excess detail as possible thereby making it slightly less daunting for the non specialist or novice clarinettist to read and this is the result. "The Educator’s Guide" is in my opinion the "Standard" specialist book to be recommended - any similarity with text or content is purely coincidental and underlines my belief stated in the foreword that there are limited ways to teach fundamental techniques correctly. To all those who read this book - enjoy the clarinet; it is a beautiful vehicle for music. Teachers wishing to find reputable suppliers of wind instruments and repair technicians, here are a few I have had dealings with and thoroughly recommend;

Brian Ackerman (Ackerman Music) - Hove, Sussex John Coppen - London Dawkes Music – Buckinghamshire Howarths - London John Myatt - Hitchin John Packer - Taunton Michael White - Ealing Woodwind& Co - Cadishead, Manchester.

(The full addresses for these suppliers are available from the Clarinet and Saxophone Society of Great Britain - see the link on my website.)

http://www.cassgb.co.uk/

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Recommended reading

Among many others, I recommend teaching methods, studies and books written by the following; Tutors and methods: Klose, Thurston&Frank, Lazarus, Jeanjean, Jettel, Brymer. Scales and Studies: Baermann, Giampieri, Cavallini, Muller, Stievenard Uhl, Jettel, Gambaro, Harvey, Kell. Books about the clarinet: Brymer, Ridenour, Harvey, Lawson, Weston. There are many other authors that I could mention but those above provide the reader with sufficient study and pedagogical material for a considerable time.

Recommended recordings

In the English school of playing I advise you listen to old recordings of the great players of the past, often re-issued on the Clarinet Classics label. Diversity of style is found in performances by Frederick Thurston, Charles Draper, Reginald Kell, Thea King, Sidney Fell, Sid Phillips (jazz), Jack Brymer, John McCaw and Gervase De Peyer. The later English school is well represented by Michael Collins and Anthony Pay. The French school of playing has several "giants"in clarinet folklore. Some of the recordings of the great Louis Cahuzac have been re- issued and are well worth having, also historic performances by Ullysses Delecleuse. Guy Deplus , Michel Portal and Guy Dangain are other great French virtuosi. The Spanish have many fine players, notably Joan - Enric Lluna who has released some interesting and exciting Spanish works on disc. The Austrian School of playing is represented by Alfred Prinz and Alfred Boskovsky and the Swiss by Tomas Friedli. In the German school I recommend Carl Leister's performances particularly those of the Spohr concerti. The Italians have produced many great players, in South Africa, Mario Trinchero (sadly now no longer alive) was regarded by the clarinettists there to be a giant in the history of the instrument for his amazing technique and sense of musicality. I personally sat next to him on one occasion during a recording of a difficult piece by Tschaikovsky. He was transposing down a semitone (for many years he had no A clarinet) and suddenly just before a fiendishly difficult passage he turned to me, winked impishly and proceeded to play the passage using the hands the other way round! (Left-hand for the lower joint, right-hand the top.) It was his amazing party trick - he played the difficult passage flawlessly like that whilst recording! If anyone out there can do this, I would like to hear about it! He also had a legendary command of the double - tongue and could play articulated passages at any speed. The American school has a number of great players past and present including Benny Goodman (jazz and classical), Harold Wright, Larry Coombs, Stanley Drucker, Richard Stoltzman, Ricardo Morales, Jonathan Cohler and Charles Neidich. One great Belgian player whose recordings I hugely admire is Walter Boeykens, a great clarinettist and musician. Undoubtedly I may have left many great players off this list - to those I apologise, but the clarinet has so many fine exponents it is impossible to include them all. Happy blowing, always strive for further knowledge and contact my web site if you need help - there is a forum for questions.

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As well as reed making Javier Defez-Requena is highly skilled as a Paella cook! Below is his family recipe for Paella - until now this was a well kept secret but is available to all readers of this book! The recipe is in Javier's own words and has a charming Spanish flavour.

Please feel free to photocopy this recipe with the authors compliments.

PAELLA

Paella is a typical dish from Valencia, although you can find it in other regions of Spain.

To cook paella you need:

• Rice

• Olive oil

• Some tomatoes

• A little garlic

• Green beans

• Fish or chicken.

• Fish: Clams, shell fish, shrimp, calmare, etc.....

• Chicken and a little rabbit.

• Water, of course

• Saffron

• Paprika

• Peppers Take a frying-pan called a paella and heat some oil. Cut the meat into little pieces .

Take one or two tomatoes and cut it into very little pieces, too.

In the paella fry the meat,( or seafood) the green beans, the tomatoes and a little garlic; all this with a little salt. When this is half fried, add a little paprika,

( "pimenton" in Spain) but don’t wait too long, because the paprika fries quickly.

Add water and leave to boil, of course with some salt.

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After half an hour, when all this is boiled, you can add the rice and a little Saffron. This is a problem, because the Saffron is very expensive, but it gives the meal a delicious taste.

If you don’t have saffron, you can use turmeric, a product that gives the paella an orange tint.

If the paella is with made with chicken and rabbit, you need to cook the above ingredients longer (around 50 minutes).

Now is the time to add the rice.

How much rice do we need?

This is a very important question because if there is too much water the rice becomes mushy; however, if there is too little water the rice doesn’t cook and it stays hard.

In Valencia there is a system to calculate it.

The water level must reach the two screws or rivets halfway up the side of the paella pan.

Place the rice in a straight line across the width of the paella, until the rice reaches the water level.

Once this is done, spread the rice across the entire paella evenly to cook. Add the Saffron.

Slowly, all this will cook until no water is in the frying pan (paella). When the rice begins to burn and stick to the pan, this is a sign that the paella is ready. If you like you can add, some pieces of pepper.

I have tried this recipe and can vouch for the fact it is delicious !!(Leslie)

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Special Offer for purchasers of this book

FREE INTRODUCTORY OFFER ! 28 Day Trial of Music@Site and a special discounted price for the full version for purchasers of Playing and Teaching the Clarinet by Leslie Craven

Alistair Logan - Author of music at Site has kindly agreed to allow purchasers of this book to buy his programme (highly recommended by me) at a special offer price to promote this book. The programme is seriously under priced in my opinion, retailers who stock it are amazed at how modest the price is for the amount of features on the disc - it should be sold for at least £50 and normally sells for £15. 99p - he is generously offering readers a £5 discount on the cost of the disc. To sample Music at Site a free 28-day "demo" version is downloadable from the Music at Site website - there is a link from my website. Simply cut out this coupon and send it to the author with a cheque for £10.99 (plus an extra £1.00 in U.K., £1.50p overseas, to cover p&p) with your name and address for a discounted copy of Music at Site to; Leslie Craven 4, St Thomas Rd., Monmouth, Monmouthshire NP25 5SA