| Introduction |
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1 | (6) |
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1 | (1) |
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Conventions Used in This Book |
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2 | (1) |
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2 | (1) |
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2 | (1) |
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How This Book Is Organized |
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3 | (2) |
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Part I Tuning Up with the Basics |
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4 | (1) |
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Part II And a One, and a Two, and a Three: Getting Started |
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4 | (1) |
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Part III Above and Beyond: Essential Intermediate Techniques |
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4 | (1) |
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5 | (1) |
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5 | (1) |
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5 | (1) |
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6 | (1) |
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Part I Tuning Up with the Basics |
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7 | (90) |
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Chapter 1 So You Want to Play the Clarinet |
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9 | (14) |
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Overcoming Tone Hole Anxiety |
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9 | (2) |
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What's with all the holes? |
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10 | (1) |
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How `bout all that metal? |
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10 | (1) |
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Selecting a Clarinet and Putting it Together |
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11 | (2) |
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11 | (1) |
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Some assembly (and maintenance) required |
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12 | (1) |
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Reading and Understanding Musical Notation |
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13 | (1) |
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Getting Physical with Your Clarinet |
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13 | (5) |
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Assuming the proper posture |
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13 | (1) |
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Learning to breathe --- correctly this time |
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14 | (1) |
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Holding your mouth just right |
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14 | (1) |
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15 | (1) |
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Squeezing out notes by applying a little leverage |
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16 | (1) |
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Getting your fingers into the action |
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16 | (1) |
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Transitioning between notes: Slurring, tonguing, and more |
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17 | (1) |
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18 | (3) |
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Recognizing the four ingredients of great tone |
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18 | (1) |
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Playing loudly, softly, and in between |
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19 | (1) |
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Adding some special effects: Vibrato, glisses, and bends |
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19 | (1) |
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Cranking up your tongue and finger speed |
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20 | (1) |
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Tweaking your clarinet into tune |
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20 | (1) |
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21 | (1) |
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Mastering the Two P's: Practice and Performance |
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21 | (2) |
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Engaging in productive practice |
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21 | (1) |
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22 | (1) |
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Chapter 2 Getting to Know the Clarinet |
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23 | (14) |
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A Brief Lesson in Clarinet Anatomy |
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23 | (6) |
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The business end of the clarinet: The mouthpiece, reed, and ligature |
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24 | (3) |
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Pitching in to tune your clarinet: The barrel joint |
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27 | (1) |
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Accommodating your left hand: The upper joint |
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28 | (1) |
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Relying on your right hand: The lower joint |
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28 | (1) |
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Ringing in at the far end: The bell |
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29 | (1) |
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Exploring the Inner Workings of the Clarinet |
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29 | (1) |
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Getting the vibrations going |
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29 | (1) |
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29 | (1) |
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Grasping the Basic Concepts of Playing the Clarinet |
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30 | (2) |
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30 | (1) |
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Using the mouth as a plumbing device: The embouchure |
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31 | (1) |
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Using the clarinet as a lever (so to speak) |
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31 | (1) |
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31 | (1) |
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Appreciating Clarinet Diversity |
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32 | (3) |
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33 | (1) |
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33 | (1) |
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33 | (1) |
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34 | (1) |
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34 | (1) |
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34 | (1) |
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35 | (1) |
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Exploring Two Unique Fingering Systems |
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35 | (2) |
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36 | (1) |
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36 | (1) |
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Chapter 3 Picking the Right Clarinet for You |
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37 | (22) |
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Looking at Clarinets for Beginners and Beyond |
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37 | (7) |
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Shaking your piggybank: How much clarinet can you afford? |
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38 | (1) |
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Starter-uppers (student models) |
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38 | (2) |
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Step-up (intermediate) models |
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40 | (2) |
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Conservatory or professional models with not-so-conservative price tags |
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42 | (2) |
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Sorting Out Material Choices |
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44 | (2) |
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Saving your pennies with a plastic model |
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45 | (1) |
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Sticking with the classics: Wooden models |
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45 | (1) |
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Checking out resin-made (greenline) clarinets |
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45 | (1) |
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Checking Out the All-Important Mouthpiece |
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46 | (5) |
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Evaluating mouthpiece characteristics |
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46 | (2) |
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Getting started with a beginner mouthpiece |
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48 | (1) |
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Stepping up to professional-quality mouthpieces |
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48 | (2) |
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Comparing jazz to classical mouthpieces |
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50 | (1) |
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Wading through the Reeds: The Tone Generators |
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51 | (2) |
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Reed cuts: Numbers aren't everything |
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51 | (1) |
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52 | (1) |
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Reeds for more advanced players |
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52 | (1) |
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Saving Some Dough: Buying Used or Renting |
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53 | (2) |
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53 | (1) |
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54 | (1) |
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Swapping Out the Barrel or Bell |
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55 | (2) |
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55 | (1) |
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Bells that'll make your ears ring |
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56 | (1) |
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Tossing in a Few Accessories |
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57 | (2) |
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57 | (1) |
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57 | (1) |
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57 | (1) |
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58 | (1) |
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58 | (1) |
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Chapter 4 Grasping the Basics of Musical Notation |
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59 | (24) |
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Reciting the Musical Alphabet |
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60 | (4) |
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Staffs and clefs: Nothing but treble and bass |
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61 | (2) |
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Simplifying staffs with ledger lines |
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63 | (1) |
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Locating Notes on a Piano Keyboard |
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64 | (3) |
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Pointing out the written notes |
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64 | (1) |
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Identifying sharps and flats |
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64 | (3) |
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Getting Keyed Up with Key Signatures |
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67 | (4) |
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Making exceptions with accidentals |
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67 | (1) |
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Tuning in to keys and scales |
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68 | (3) |
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71 | (5) |
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Recognizing a note's value |
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71 | (2) |
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73 | (1) |
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Humming a few bars with bar lines |
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73 | (1) |
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Tuning in to the beat with time signatures |
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74 | (1) |
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Accounting for triplets and dotted notes |
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74 | (1) |
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Taking a breather with rests |
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75 | (1) |
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Spicing Up the Music with Staccato, Accents, Slurs, and Tenutos |
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76 | (3) |
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Barking out notes staccato style |
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77 | (1) |
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Accenting notes for emPHAsis |
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77 | (1) |
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78 | (1) |
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Marking tenutos with a dash |
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78 | (1) |
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Marking phrases with slurs |
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79 | (1) |
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Reaching Beyond the Notes |
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79 | (4) |
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Deciphering dynamic markings |
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79 | (1) |
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Spotting crescendos and diminuendos |
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80 | (1) |
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Learning Italian with tempo markings |
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81 | (1) |
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Following repeat signs and roadmaps |
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81 | (2) |
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Chapter 5 Assembling, Cleaning, and Caring for Your Clarinet |
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83 | (14) |
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84 | (6) |
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84 | (1) |
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Hands off! Places you should never touch |
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85 | (1) |
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Attaching the bell to the lower joint |
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86 | (1) |
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Attaching the lower joint to the upper joint |
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86 | (2) |
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Attaching the barrel to the upper joint |
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88 | (1) |
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Attaching the mouthpiece to the barrel |
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88 | (1) |
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Attaching the reed to the mouthpiece |
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89 | (1) |
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Cleaning and Storing Your Clarinet |
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90 | (4) |
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90 | (1) |
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90 | (1) |
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Giving the mouthpiece a bath |
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91 | (2) |
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Clarinet storage do's and don'ts |
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93 | (1) |
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93 | (1) |
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Protecting that reed and mouthpiece! |
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94 | (1) |
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Maintaining and Repairing Your Clarinet |
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94 | (3) |
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Maintaining a brand new clarinet |
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94 | (1) |
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Taking care of any ol' clarinet |
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95 | (1) |
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Finding a good repair technician |
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96 | (1) |
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Part II And a One, and a Two, and a Three: Getting Started |
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97 | (82) |
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Chapter 6 Getting Your Body, Lungs, and Lips in the Game |
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99 | (12) |
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Taking a Stance: Great Posture for Great Breathing |
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99 | (2) |
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100 | (1) |
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100 | (1) |
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Breathing for Your Clarinet |
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101 | (2) |
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101 | (1) |
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Breathing out ... completely |
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101 | (2) |
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Sounding Off with a Mini-Clarinet |
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103 | (8) |
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103 | (1) |
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Giving your clarinet some lip: Proper embouchure |
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104 | (4) |
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Playing that big band sound: Adjusting the leverage and air |
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108 | (3) |
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Chapter 7 Playing Your First Notes |
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111 | (18) |
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Letting Your Fingers Do the Talking |
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111 | (7) |
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Double-checking your right thumb position |
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112 | (2) |
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Getting your left hand in the act |
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114 | (1) |
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Holding your fingers in the right positions |
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115 | (1) |
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116 | (2) |
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Don't let your pinkies droop |
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118 | (1) |
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Playing Your First Note on the Whole Clarinet |
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118 | (2) |
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Launching Notes with Your Tongue |
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120 | (1) |
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Adding More Notes to Your Repertoire |
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120 | (9) |
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121 | (1) |
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Digging an F# and low Bb out of the final two tone holes |
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122 | (1) |
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Getting all choked up with throat tones |
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123 | (4) |
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Stringing all those notes together |
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127 | (2) |
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Chapter 8 Heading Lower, Higher, and In Between |
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129 | (18) |
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129 | (9) |
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Exploring the low pinky notes |
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130 | (2) |
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Aiming high: Playing the fifth line F and continuing upward to G, A, B, and C |
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132 | (3) |
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Playing pinky notes in the staff |
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135 | (3) |
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Changing Registers: A Tricky Transition |
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138 | (3) |
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Playing from two places at once: The F# to A connection |
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139 | (1) |
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Keeping the right hand down for register changes |
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140 | (1) |
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Going Chromatic to Plug the Gaps |
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141 | (6) |
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Higher chromatic notes for the clarion register |
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144 | (1) |
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145 | (1) |
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Putting it all together: The whole enchilada |
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145 | (2) |
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Chapter 9 Playing Between the Notes: Slurring and Tonguing |
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147 | (20) |
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Getting Connected with Articulation |
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147 | (1) |
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Slurring to Smooth Transitions |
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148 | (5) |
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Slurring smooth and steady |
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149 | (1) |
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Adding accents and intensity crescendos |
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149 | (4) |
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Mastering the Fine Art of Tonguing |
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153 | (10) |
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Brushing up on the basics: Aiming for the tip rail |
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154 | (1) |
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Starting notes: Going on the attack |
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155 | (1) |
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Separating repeated notes and successive notes that change pitch |
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156 | (3) |
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159 | (1) |
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Tonguing to sing more: Legato tonguing |
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160 | (1) |
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Adding space between notes staccato style |
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161 | (2) |
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Mixing Articulation with Slurring and Tonguing |
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163 | (4) |
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Chapter 10 Rising Above and Beyond High C |
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167 | (12) |
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Producing the Altissimo Notes |
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168 | (3) |
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Stepping up to a harder reed |
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168 | (1) |
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Maintaining correct embouchure |
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168 | (2) |
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Letting 'er rip with fast air |
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170 | (1) |
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Meeting More Cousins: The Overtones |
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171 | (3) |
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Fingering notes C3# above the staff to F4# |
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172 | (1) |
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Opening one more vent hole for high G |
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172 | (1) |
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173 | (1) |
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Improving Finger Coordination with Alternate Fingerings |
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174 | (5) |
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Chromatic and trill fingerings |
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175 | (1) |
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176 | (1) |
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176 | (3) |
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Part III Above and Beyond: Essential Intermediate Techniques |
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179 | (118) |
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Chapter 11 Achieving a Great Clarinet Tone |
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181 | (12) |
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The Four Essential Qualities of Great Tone |
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182 | (1) |
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Producing Great Tone: Step by Step |
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183 | (7) |
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Cranking up amplitude for increased response and fullness |
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183 | (1) |
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Gaining leverage over pitch |
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184 | (3) |
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187 | (1) |
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188 | (2) |
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Playing Softly with Good Tone |
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190 | (3) |
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Chapter 12 Shaking It Up with Vibrato, Glissandos, Bends, and Scoops |
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193 | (12) |
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Exploring Vibrato's Roots |
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193 | (2) |
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Vibrato in jazz: A match made in heaven |
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194 | (1) |
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194 | (1) |
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194 | (1) |
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195 | (1) |
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195 | (1) |
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Giving Your Clarinet a Pulse |
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195 | (6) |
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Recognizing the two flavors of vibrato |
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196 | (1) |
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Getting warmed up with jaw vibrato |
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197 | (2) |
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Opting for glottal vibrato |
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199 | (1) |
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200 | (1) |
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Honoring tradition: Vibrato in classical clarinet |
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200 | (1) |
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Going Gershwin with Glissandos |
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201 | (2) |
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201 | (1) |
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Smears (also known as slides) |
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202 | (1) |
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Bending and Scooping Notes |
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203 | (2) |
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203 | (1) |
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204 | (1) |
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Chapter 13 Taking Your Fingers to the Next Level: Additional Fingerings |
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205 | (10) |
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Preventing Pinky Entanglement |
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205 | (3) |
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Adding Fullness and Resonance to the Throat Tones |
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208 | (5) |
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Getting a feel for throat tones |
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210 | (2) |
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Improving your throat tones |
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212 | (1) |
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Letting Your Fingers Do the Climbing: Rising Above High G |
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213 | (2) |
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Chapter 14 Turbo Tonguing and Faster Fingering |
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215 | (10) |
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215 | (5) |
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Recognizing fast tonguing in musical notation |
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216 | (1) |
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Maintaining constant air flow |
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216 | (1) |
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Keeping your tongue relaxed |
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217 | (1) |
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Grouping tongued notes, syllable style |
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217 | (3) |
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Limbering Up for Faster Fingering |
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220 | (5) |
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Pairing notes and fingerings instinctively |
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220 | (1) |
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Gaining confidence at fast tempos |
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220 | (1) |
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Undertaking strength training |
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220 | (1) |
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Developing smooth finger coordination |
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221 | (1) |
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221 | (1) |
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Practicing your fast fingers technique |
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222 | (3) |
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Chapter 15 Tuning Up for Proper Pitch |
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225 | (14) |
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Grasping the Concept of Tuning to the Proper Pitch |
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226 | (1) |
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Warming Up in the Bullpen |
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227 | (1) |
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Warming the outside first: The ol' armpit trick |
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227 | (1) |
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Warming the inside with a low E |
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228 | (1) |
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Tuning Your Clarinet: Two Methods |
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228 | (7) |
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229 | (2) |
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231 | (4) |
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Recognizing Your Clarinet's Pitch Tendencies |
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235 | (3) |
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Correcting general pitch tendencies |
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235 | (1) |
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Letting your fingers do the work: Alternate fingerings for problem notes |
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236 | (2) |
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Tackling Bigger Tuning Problems |
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238 | (1) |
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Chapter 16 Heading to the Practice Studio |
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239 | (18) |
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Building a Solid Foundation for Practice |
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239 | (5) |
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Blocking out some quality time |
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240 | (1) |
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Structuring your practice sessions |
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240 | (3) |
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Practicing with a tiny audience |
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243 | (1) |
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244 | (1) |
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Honing Your Skills and Technique with Exercises and Etudes |
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244 | (8) |
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Learning by rote with exercises |
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245 | (3) |
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Gaining concentrated practice with etudes |
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248 | (4) |
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Sharpening Your Skills with Three More Practice Tips |
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252 | (2) |
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Slowing down to get better faster |
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252 | (1) |
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Practicing the opposite extreme |
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253 | (1) |
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Playing beat-to-beat for fast passages |
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253 | (1) |
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Additional Resources for Productive Practices |
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254 | (3) |
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Chapter 17 Refining Your Reeds |
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257 | (30) |
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Solving the Mystery of Reeds |
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258 | (3) |
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258 | (1) |
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Brushing up on reed physiology: Vibration |
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258 | (3) |
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Recognizing the Necessity of Adjusting Even Good Reeds |
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261 | (1) |
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Selecting the Most Talented Reeds to Tune Up |
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261 | (2) |
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Diagnosing a Reed's Shortcomings |
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263 | (13) |
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Testing the top of the fulcrum to the tip of the reed |
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265 | (3) |
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Testing the back of the fulcrum to the beginning of the cut |
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268 | (2) |
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Confirming or refining your diagnosis...before you grab that knife! |
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270 | (5) |
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Marking adjustments on your reed |
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275 | (1) |
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Adjusting Your Reed: Scalpel, Please |
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276 | (11) |
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Following a few simple precautions |
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276 | (1) |
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Gathering essential tools and materials |
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277 | (1) |
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Adjusting areas above the fulcrum |
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278 | (3) |
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Adjusting areas below the back of the fulcrum |
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281 | (1) |
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Adjusting overly soft reeds at the tip |
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282 | (1) |
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Revitalizing old, warped reeds |
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283 | (4) |
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Chapter 18 Gaining Expertise and Exposure through the Clarinet Community |
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287 | (10) |
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Teaming Up with a Teacher |
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288 | (3) |
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Sizing up qualities and qualifications |
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288 | (1) |
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289 | (1) |
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Checking recommendations and references |
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290 | (1) |
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Playing Well with Others in an Ensemble |
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291 | (3) |
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Considering a school band or orchestra |
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291 | (1) |
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Exploring new horizons for older players |
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292 | (1) |
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Checking out the local fare: Community concert bands and orchestras |
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293 | (1) |
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Joining the choir...the clarinet choir |
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294 | (1) |
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Auditioning for ensembles |
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294 | (1) |
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Thinking Smaller: Duet Buddies and Accompanists |
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294 | (2) |
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Finding duet buddies for duets, trios, and quartets |
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295 | (1) |
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Finding pianists for accompaniment |
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295 | (1) |
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Overcoming Performance Anxiety |
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296 | (1) |
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297 | (16) |
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Chapter 19 Ten Insider Secrets to Great Clarinet Playing |
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299 | (6) |
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299 | (1) |
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Expand and Control Your Breathing |
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300 | (1) |
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301 | (1) |
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Tongue the Tip of the Reed to the Tip Rail |
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301 | (1) |
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Tongue Fast with the Letter "D": Duh! |
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302 | (1) |
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Arch That Tongue: Hiss Like a Snake |
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302 | (1) |
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Check Your Rhythmic Pulse |
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303 | (1) |
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303 | (1) |
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Play in Tune and on Pitch---Always |
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304 | (1) |
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Exaggerate the Opposites During Practice |
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304 | (1) |
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Chapter 20 Ten (Plus) Clarinetists You Gotta Hear |
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305 | (8) |
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305 | (1) |
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306 | (1) |
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307 | (1) |
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307 | (1) |
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308 | (1) |
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308 | (1) |
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309 | (1) |
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309 | (1) |
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310 | (1) |
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311 | (1) |
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311 | (2) |
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313 | (10) |
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Appendix A Fingering Charts |
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315 | (2) |
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317 | (6) |
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Relating the Text to the CD |
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317 | (1) |
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317 | (1) |
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317 | (1) |
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318 | (1) |
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319 | (3) |
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322 | (1) |
| Index |
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323 | |
Daugiau apie elektronines knygas