Instant help for Playing and

Teaching

The Clarinet

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

PRINCIPAL CLARINETTIST ORCHESTRA OF WELSH NATIONAL OPERA

www.lesliecraven.co.uk

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

1

Instant Help for Playing and Teaching the Clarine t 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.

2

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.

mailto:Music@Site

3

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.

http://www.leslecraven.co.uk/http://www.theclarinet.co.uk/

4

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 SPARE MOUTHPIECE

14

VIIBRATO, FOCUS IN THE SOUND, LEARN FROM OTHER SCHOOLS OF PLAYING

15

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 ACCESSORIES)

26

FIRST LESSONS - FOR TEACHING BEGINNERS, CREATE A TEACHING SYSTEM

27

FIRST LESSONS, PARENTAL SUPPORT, A LITTLE PSYCHOLOGY 28 WE TEACHERS SOMETIMES TRY TOO HARD, SUPPORTING THE CLARINET, CORRECT POSTURE

29

SITTING POSTURE, CORRECT PLAYING POSTURE 30 POSTURE CONTINUED, HAND POSITIONS 31 HAND POSITIONS CONTINUED 32

5

(SECTION 2 CONTINUED) CORRECT FINGER MOVEMENTS

33

THUMB RESTS 34 GRIPPING THE CLARINET TOO HARD, SLINGS, POOR NOTE RECOGNITION, INABILITY TO LEARN RHYTHMS

35

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

6

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.

7

(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. 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.

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

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.

9

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

Needle Heat the cup to remove the pad or to re-position the pad so that it does not cause a leak.

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 skin of the pad to “balloon” unless the air is allowed to escape. Another cause of “leaks” is the A-key adjusting screw. Check this has not tightened itself (car travel and general vibration can cause this) enabling air to escape. If your clarinet has screws that “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.

Gently pierce the sides of the skin pad low down (before fitting to the heated cup) to release air inside the pad.

11

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)

12

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.

15

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.

16

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

17

Traditional Reed Adjustments TIP 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.

Most reeds are flawed; the most common fault being that one side is

thicker than the other is. This means the thinner side will vibrate more than the thicker side,

causing poor response. Removing material either

with a blade or fine abrasive paper from

one side will improve the response, depending on which side of the reed is thickest. An easy way to test this is the side to side

test described earlier. When removing excess material, do it in tiny

amounts and test frequently.

TIP SIDES (Shaded black) HEART (Red) VAMP or cut (Brown) The raised area on the face of the reed STOCK BACK (on reverse side)

It is essential the back of

the reed is flat. Any raised grain should be

eradicated by placing the reed on a sheet of fine abrasive paper on a reliably flat surface. Keeping a uniform

pressure on the reed, move it carefully back

and forth, checking frequently that the

uneven grain is smoothed flat. A magnifying glass is useful for checking this. It is not advised to take too much cane off the back of

the reed, so do this gradually, constantly playing it to test the

response.

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.

18

(Reed adjustments continued) Direction of cane removal with a blade or abrasive paper

Remove cane from the right-hand side in the direction of the arrows if this side proved stuffiest in the side to side test (red arrows if using a blade). If using sandpaper reverse the direction and sand inwards (blue arrows).

Remove cane from the left-hand side in the direction of the arrows if this is the unresponsive side. Do this little by little (Red arrows if using a blade). If using sandpaper reverse the direction i.e. inwards (blue arrows).

If the sound is generally a little unresponsive try gradually thinning these specific black shaded areas

The area near the tip needs to be thinned a little if 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.

If the reed absorbs too much water, it can feel very stuffy and unresponsive. Make sure that the reed is not absorbing too much 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. This process may need to be repeated often. Only play reeds for about fifteen minutes at a time if several reeds are to be “played in.” Keep your reeds flat in a suitable reed holder and make sure you rotate the use of your reeds to get the most playing time from them. Always have more than one good reed available for performances. You may need to change reed during a performance. Climate and altitude can adversely affect reeds. Reeds 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.

19

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.

20

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 (Tip of reed is uncut) Cutting table REED MAKING BLOCK Reed blank

Line marked to correspond to length of mouthpiece window to mark the distance of the first cut on the blank. This saves time when making several reeds at once. It is a good idea to cut several blanks at a time.

Cutting table is precisely reed width

This distance should be slightly longer than the reed blank

Optional “G” clamp to hold reed secure on the block.

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

22

(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.

http://www.ridenourclarinetproducts.com/http://www.marca-france.com/

24

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)

25

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)

Plate 1 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.

Plate 2

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.

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 mouthpiece the tip of the reed will be.

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, 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.

26

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.

27

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.

28

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.

29

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).

30

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 (Posture continued Head, body, and arm positions (Posture continued)

Poor hand positions. Upper arms and elbows pulled in towards body, wrists collapsed, LH thumb pointing upwards. Fingers “clawing” tips of fingers pointing in ring keys and holes. The clarinet bell pointing almost vertically at the floor. All these faults create huge problems resulting in long term injury to tendons and ligaments. Incorrect hand positions cause poor head position resulting in neck injury.

Create good hand positions. Holding the clarinet normally, form a right-angled triangle by extending the fingers and making a ninety-degree angle with the tips when viewed from above. Then, gently lower the fingers whilst maintaining slightly extended arm positions, wrist and forearm in a straight line. Pads of fingers then fall naturally across the holes and LH thumb in a diagonal across the back hole. Elbows 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.

31

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 continued)

Correct position: head upright, neck slightly inclined forward, clarinet at angle of forty-five degrees (approx.)

The 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

Extreme case of poor posture. Head pulled into chest, neck excessively bent, airway constricted, arms pulled in to body.

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.

33

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 movement is made to open the “A” and “G sharp” keys. Rotate the wrist until you actually see most of the index finger nail pointing at 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 sound to come out of this hole. If this is not done correctly, a very flat “A” will be the result. Be careful 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.”

The stars show the correct segments of finger for pivoting and depressing the “A” and “G sharp” keys. In all the diagrams, the red arrows show direction of rotation of the fingers and wrist.

First Ring

Side view of rotated index finger. (Viewed from right hand side, original position dotted)

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

Finger position seen from above

34

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 c