Playing the Clarinet ( PDFDrive ) 123457

Playing the Clarinet
BBByyy NNNaaayyyeeeeeemmm KKKaaarrriiimmm aaannnddd RRRaaaccchhheeelll UUUpppaaadddhhhyyyaaayyy
IIInnntttrrroooddduuuccctttiiiooonnn tttooo IIInnnssstttrrruuuccctttiiiooonnnaaalll DDDeeesssiiigggnnn
FFFaaallllll 222000000999

TABLE OF CONTENTS PAGE
Introduction
How to use this instructional manual, and the objectives of the instruction.
1
Chapter 1
Choosing a clarinet, and identifying its parts.
4
Chapter 2
Assembling, holding, and producing sound with the clarinet.
16
Chapter 3
Reading musical notation.
38
Chapter 4
Fingering notes on the clarinet.
69
Chapter 5
Playing scales on the clarinet.
87
Chapter 6
Performing songs on the clarinet.
101
Chapter 7
Maintaining the clarinet.
115
Summary
A review of the information and lessons covered.
129

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

INTRODUCTION

Welcome to Playing the Clarinet! This instructional manual
will teach you the basics of the clarinet. Through the use of
informative lessons , guided instructions, visual
images, and self-assessment tools, it will allow you to:
Play Scales and Songs
Assemble the Clarinet
Hold the Clarinet
Operate the Keys, Levers and Holes
Read Musical Notation
Maintain the Clarinet
If these look like the things you would like to learn, then
this manual is written for you.

NEW TO MUSIC? DON’T WORRY…

The content of this instructional manual will make learning
to play the clarinet a simple and straightforward endeavor.
You do not need to have prior experience with musical
instruments or knowledge of musical notation.

Learning to play the clarinet is a straightforward
endeavor and does not need to take a lot of time. The
learning curve of the clarinet is rather sharp, and the
more you practice, the faster you will be able to master
the instrument. This means that with practice, you too
can develop into an accomplished clarinetist. After
completing this instruction, you will not only have the
knowledge and skills, but also the confidence necessary
to play the clarinet for any audience, including your
friends and family!

You can swiftly acquire the skills
necessary to play the clarinet.
HOWEVER…As with any
instrument, PRACTICE is the key to
becoming an accomplished
clarinetist.
1

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

USING THIS INSTRUCTIONAL MANUAL

Before we get started, let’s take a look at how to use this
instructional manual.

At the top of each page, you will notice a progress bar that
shows you how far you have advanced through the
instruction. The chapter that you are currently on is
indicated by white text on a shaded tab. Chapters that
you have previously covered are faded out. As you can
see, you are currently in the section marked “Intro.”

Each chapter in this manual begins by stating the main
objectives of the chapter. The information presented in
each is easy to comprehend and is supplem ented by
clearly-labeled images. Each chapter also ends with a self-
assessment and matching answer key. The assessment
activities will coincide with the objectives mentioned in
the start of each chapter. You are encouraged to
complete these assessments without referring back to the
information in the chapter to make sure that you have a
firm grasp of the subject matter.

OBJECTIVES OF THIS INSTRUCTION
The following is a list of your main
objectives:
• Choose a clarinet
• Identify parts of the clarinet
• Assemble the parts of the
clarinet
• Position yourself to play the
clarinet
• Produce sound with the clarinet
• Read Music
• Finger Notes
• Play scales
• Perform songs
• Maintain the clarinet

2

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

BEFORE YOU BEGIN…

In order to be able to learn how to play clarinet, it is
important that you:
Can calculate
1
/2 ,
1
/4 , and
1
/8 of a whole
Have full use of all of your fingers
Are able to breathe deeply
Have access to a clarinet
If you are able to do these things, then you are ready to
being the instruction contained within “Playing the
Clarinet!”

TTIIPPSS FFOORR SSUUCCCCEESSSS::
 Select a quiet place to study the
material, free from distractions.

 Make sure that you have a chair
and a surface to lay your
materials and sheet music on for
practicing.

 PRACTICE, PRACTICE, PRACTICE!
Make sure that you practice a
few times a week.
3

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHOOSING A CLARINET

4
After completing this chapter, you will
be able to:
 Choose a Clarinet
- Distinguish Between Wooden and Plastic Clarinets
- Distinguish Between Boehm and Albert Clarinets
 Identify the parts of the Clarinet
-
Identify the Mouthpiece, Reed, Barrel, Upper Joint,
Lower Joint and Bell

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHOOSING A CLARINET
BEFORE YOU BEGIN…

Now that you have made the decision to learn to play the
clarinet, it is important for you to select which type of the
instrument you would like to play. There are many ways
that clarinets can differ from each other. These include:

 Sound Quality
 Key Structure
 Materials used to make the instrument.

In this chapter, we will look at a few of the clarinet
variations that are out there so that you may have more
information at your fingertips when thinking about
borrowing, renting, or purchasing a clarinet of your own.

CLARINET MATERIALS

Clarinets can be made of a variety of materials. Typically
the body of the clarinet is made of some sort of wood or
plastic and the keys are made of a metal. Although rare,
some clarinets have been made with metal or ivory
bodies, but these have not been found to be as practical.
Let’s take a look at the difference between wooden and
plastic clarinets.

5
After completing this section, you
will be able to:

Distinguish between wooden and
plastic clarinets


Distinguish between Boehm and
Albert system clarinets

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

WOODEN CLARINETS

There is not one certain type of wood that clarinets are
made from. There are a number of different types. Most
professional musicians use African hardwood, but these
instruments can be incredibly expensive. Prices for a
wooden clarinet usually range in the thousands of dollars.

Wooden clarinets are renowned for their sound. The tone
is reputed to be much richer than that of a plastic
instrument. Therefore, purchasing a wooden clarinet is
considered an investment for someone who is looking to
play professionally.

There is not much difference in the handling of a wooden
clarinet. In fact, contemporary wooden clarinets look very
similar to plastic ones. A wooden clarinet, however,
weighs more and is more prone to cracking from humidity.
Because of this, you will find it necessary to oil the inside
of instrument with boar oil if you choose to own a clarinet
made of wood.

6
Antique Clarinet
made of Boxwood

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PLASTIC CLARINETS

Just as there are many different types of woods used to
make wooden clarinets, there are several types of plastics
used to make the plastic ones.

Plastic clarinets are less expensive and are perfect for
beginners. The lighter weight makes them easier to hold
onto when you are learning how to finger the keys.

In addition to being lighter weight, plastic clarinets do not
crack in high humidity, and therefore are able to be played
in all conditions. This makes them better for being used in
marching bands and anywhere where you may play
outside. Since they do not crack, plastic clarinets do not
require any oil.

7
Plastic Clarinets Differ From Wooden
Because They:
• Are Lighter
• Are Less Expensive
• Have a Different Tone Quality
• Do Not Crack; Do Not Need Oil

Contemporary
Plastic Clarinet

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING SYSTEMS

Not only are there differences in the materials that are
used to make clarinets, you will find there are also
differences in the way the buttons or keys are laid out.
Throughout the hundreds of years that the clarinet has
existed, musicians looked for ways to make it easier to
play different sequences of notes at a fast speed. This led
to the development of several key layouts, or fingering
systems. We will look at two of the most common, the
Albert and the Boehm systems.

THE ALBERT SYSTEM

The Albert System of clarinet was developed
by a man named Eugene Albert. It is not used
very extensively in the United States, but has a
place in the music of Eastern Europe and also
in Turkish folk music.

The Albert System is based on an earlier
system that is now used by most German
and Austrian clarinetists. Its purpose is to
make it easier fo r the musicians to “slur”
notes when playing. (You will learn about
slurring in Chapter 3).

8
Other clarinet fingering system
layouts include the Oehler
System and the Three- Key
Kinderklarinette.
The Albert
System Clarinet

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE BOEHM SYSTEM

The Boehm fingering system was actually
developed for the flute by Theobald Boehm.
It was adapted for the clarinet in 1839 by
Hyacinthe Klose and Auguste Buffet jeune.

The Boehm clarinet system was initially
very popular in France, but moved over to
Belgium, Italy and America by the 1870s.
Today it is the most widely used system in the
United States.

The Boehm system enhances the tone on the
clarinet. It also adds duplicate keys for the left
and right little fingers to make it easier for you
to play some of the notes.

9
The Boehm
System Clarinet

The Fingering Systems:
• The Albert system is better for
slurring notes and is used mostly
in Eastern Europe.
• The Boehm system has duplicate
keys for easier play and is the
most widely used system in the
United States.

Though one fingering system is not
better than another, please be
advised that we will be using the
Boehm System for the rest of this
manual.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PARTS OF THE CLARINET
BEFORE YOU BEGIN…

The clarinet is made up of six different parts. Since you
will need to be able to assemble these parts in order to
play the instrument, it is important that you know what
they are.

THE PARTS

THE BELL

The bell of the clarinet is the base of the instrument. It
flairs out at the bottom. Usually made of metal, the
bell’s main purpose is to create a uniform tone for the
lowest notes that a clarinet is able to play. It connects to
the Lower Joint of the clarinet.

THE LOWER JOINT

The Lower Joint of the clarinet
makes up one half of the main
body of the instrument. Its lower end connects to the
bell, while the top end is joined with the Upper Joint.
The Lower Joint contains the keys and levers that are
played by your right hand. It contains a thumb rest on
the back under which your right thumb sits.

10
After completing this section, you will be
able to:

Identify the Bell

Identify the Lower and Upper Joints

Identify the Barrel

Identify the Mouthpiece

Identify the Reed

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE UPPER JOINT

The Upper Joint makes up the second half of the main
body of the clarinet. Connected at the bottom to the
Lower Joint and at the top to the Barrel, it contains all of
the keys, holes and levers playable by your left hand.

THE BARREL

Above the Upper Joint of the clarinet is a small piece called
the Barrel. The barrel is used to fine tune the instrument.
You can pull it out a bit to change the tone of the clarinet.
Some musicians have interchangeable barrels of different
lengths that they can use to change the sound of their
clarinets. The bottom end of the barrel connects to the
Upper Joint and the top part of it is joined with the
Mouthpiece.

THE MOUTHPIECE

The Mouthpiece is the wedge- shaped part of the clarinet
that you place into your mouth to play. It is the part of the
instrument that the reed attaches to. Its purpose is to
provide a place for air to enter the clarinet when you blow.

THE REED

The reed is a thin piece of cane or synthetic material that is
attached to the mouthpiece by a ligature. It has a flat
backside that fits next to the mouthpiece and tapers to a
thin tip at the top. Reeds come in varying sizes to fit the
size of the mouthpiece. They also come in varying
thicknesses that you will find alter the playability and
sound of the clarinet.

11

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

DIAGRAM OF A CLARINET

12
The Clarinet has six parts:
• Bell
• Lower Joint
• Upper Joint
• Barrel
• Mouthpiece
• Reed

Now that you know a bit more about some of
the different types of clarinets available, you
have the information needed to go out and
select your very own instrument.
Before renting or purchasing a used
instrument, inspect it carefully for missing
pads, broken keys or springs, nicks or
scratches. These CAN AND WILL affect your
performance
!

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 1 SELF-ASSESSMENT
Write your answer in the space provided using a complete sentence. Do not refer to the chapter.
1.) Describe which clarinet best meets your needs and why.

2.) What are two ways in which a plastic clarinet is different from a wooden clarinet?

3.) What are the six parts of a clarinet?

13

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 1 SELF-ASSESSMENT (CONTINUED)
Circle the picture that best matches your answer.
4.) Which picture depicts the Boehm system clarinet?

Label the parts on the picture that correspond to the answers.
5.) Label the bell, lower joint, upper joint, barrel, mouthpiece and reed on the picture provided.

14

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 1 SELF-ASSESSMENT (ANSWER KEY)
Write your answer in the space provided using a complete sentence. Do not refer to the chapter.
1.) Describe which clarinet best meets your needs and why.

2.) What are two ways in which a plastic clarinet is different from a wooden clarinet? (See “Clarinet Materials”)

 It is lighter
 Less Expensive
 Have a different tone quality
 Does not crack in humidity, so it does not need oil

3.) What are the six parts of a clarinet? (See “Parts of the Clarinet”)
 Bell
 Lower Joint
 Upper Joint
 Barrel
 Mouthpiece
 Reed
15

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 1 SELF -ASSESSMENT (CONTINUED)
Circle the picture that best matches your answer.
1.) Which picture depicts the Boehm system clarinet?

Label the parts on the picture that correspond to the answers.
2.) Label the bell, lower joint, upper joint, barrel, mouthpiece and reed on the picture provided.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 1 SELF-ASSESSMENT (ANSWER KEY)
Circle the picture that best matches your answer.
4.) Which picture depicts the Boehm system clarinet?
(See “The Boehm System”)

Label the parts on the picture that correspond to the answers.
5.) Label the bell, lower joint, upper joint, barrel, mouthpiece and reed on the picture provided.
(See “Diagram of a Clarinet”)

16
If you have answered each question
correctly, then congratulations! You
are now ready for Chapter 2. If not,
then please review the material in
the previous chapter and retake the
Self Assessment before moving on.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PREPARING TO PLAY

17
After completing this chapter, you will
be able to:
 Assemble the parts of the clarinet
-
Assemble the Mouthpiece and Reed
-
Assemble the Bell, Lower Joint, Upper Joint and Barrel
 Position yourself to play the clarinet
-
Grasp the Clarinet
 Produce sound with the clarinet
- Tongue the Reed

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PREPARING TO PLAY
BEFORE YOU BEGIN…

Assembling the six parts of the clarinet is a relatively
simple and straightforward procedure. It is important,
however, for you to pay attention to minor details while
assembling the clarinet in order to avoid damaging the
instrument. Careful assembly ensures that the clarinet
plays with a good tone as well.

ASSEMBLING THE CLARINET

The clarinet is assembled in two phases. In the first phase,
you will put together the Mouthpiece and Reed. In the
second phase, you will assemble the Bell, Lower Joint,
Upper Joint, and Barrel. The first phase forms the sound
producing component of the clarinet, while the second
phase forms the body of the clarinet. When the two
phases are complete, the clarinet is assembled by
attaching the assembled parts from the first phase to the
assembled parts from the second phase.

18
After completing this section, you
will be able to:

Assemble the Mouthpiece and
Reed


Assemble the Bell, Lower Joint,
Upper Joint, and Barrel

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

ASSEMBLING THE MOUTHPIECE AND REED

Assembly of the Mouthpiece and Reed follows these
steps:

1.) Remove the Mouthpiece, Ligature, and Reed from
the clarinet case. If the Reed is inside a Reed Case,
carefully take out the Reed from the Reed Case.

2.) Slide the Ligature onto the Mouthpiece. Make sure
that the screws of the Ligature are loose.

3.) Moisten the Reed by placing the front of the Reed
on your tongue and holding it in your mouth for a
few moments. Moisten the Reed till the tip of the
Reed is perfectly flat.

4.) Holding the Reed between your index finger and
thumb, slide the Reed onto the front of the
Mouthpiece underneath the Ligature.

19

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

5.) Position the Reed on the Mouthpiece, such that
the Reed is centered over the opening in the
Mouthpiece and the tip of the Reed is just slightly
lower than the tip of the Mouthpiece.

6.) Position the Ligature over the thick end of the
positioned Reed and tighten the Ligature by
rotating its screws in a clockwise manner. Do not
tighten the screws too much.

20
STEPS TO ASSEMBLE MOUTHPIECE AND
REED:
• Gather the Mouthpiece, Ligature, and
Reed
• Slide Ligature onto Mouthpiece
• Moisten the Reed
• Slide the Reed onto the Mouthpiece
• Position the Reed on the Mouthpiece
so tip is slightly lower than tip of
Mouthpiece
• Tighten the screws on the Ligature

Assembled Mouthpiece
and Reed

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

ASSEMBLING THE BELL, LOWER JOINT, UPPER
JOINT AND BARREL

Before you put your clarinet together,
remember the following things:

 NEVER force parts together!
 ALWAYS make sure the parts have
a tight fit.
 AVOID grasping the keywork.
 NEVER rotate the parts in a
sporadic manner. This WILL
damage the cork!

To assemble the Bell, Lower Joint, Upper Joint and Barrel,
follow the steps listed below:

1.) Remove the Bell, Lower Joint, Upper Joint, and
Barrel from the clarinet case.

2.) With the Lower Joint in one hand and the Bell in
your other hand, attach the Bell to the Lower Joint
by smoothly rotating the Bell while pressing the two
parts together.

21

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

3.) With the Upper Joint in one hand and the Barrel in
your other hand, attach the Barrel to the Upper
Joint by smoothly rotating the Barrel while pressing
the two parts together.

4.) With the Lower Joint and attached Bell in one hand
and the Upper Joint and attached Barrel in your
other hand, attach the Lower Joint to the Upper
Joint by smoothly rotating the Upper Joint and
pressing the two parts together.

It is very important that you grasp the Upper Joint such
that the two ring keys on the Upper Joint are pressed
down. This ensures that the bridge key is lifted, and
prevents any damage to the bridge key during the
assembly.

5.) Examine the position of the finger holes and bridge
key. The finger holes on the Upper Joint and Lower
Joint should be in a straight line, and the bridge key
should be above the connecting mechanism on the
Lower Joint.

22

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

Now that you know a bit more about the assembly
procedure, you have the information needed to go out and
assemble your clarinet.

POSITIONING YOURSELF TO PLAY

In almost every instance, you will play the clarinet either
sitting down or standing up. Although it seems that this
needs no further explanation, it is important to realize
that assuming the correct posture while sitting or standing
ensures that you do not tire out your body or your lungs
while playing the clarinet.

After completing this section, you
will be able to:

Grasp the clarinet

Sit to play the clarinet

Stand to play the clarinet
STEPS TO ASSEMBLE BELL, LOWER
JOINT, UPPER JOINT, AND BARREL:
• Gather the Bell, Lower Joint,
Upper Joint, and Barrel
• Attach Bell to Lower Joint
• Attach Barrel to Upper Joint
• Attach Lower Joint with attach
Bell to Upper Joint with attached
Barrel

23

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

GRASPING THE CLARINET

Whether you are sitting or standing while playing the
clarinet, you will have the instrument in your hands.
Properly holding the clarinet is the first step in laying the
foundation to developing a smooth playing technique
while playing the clarinet.

To grasp the clarinet, follow these steps:

1.) With your right hand, grasp the Lower Joint of the
clarinet, such that your right thumb is positioned
under the thumb rest, your index, middle and ring
finger are positioned over the finger holes, and
your pinky hove rs over the set of four keys at the
bottom right of the Lower Joint.
2.) With your left hand, grasp the Upper Joint of the
clarinet, such that your left thumb is positioned
over the register key and hole, your index, middle
and ring finger are positioned over the finger
holes, and your pinky is over the set of three keys
at the top left of the Lower Joint.

STEPS TO GRASPING THE CLARINET:
• Grasp Lower Joint with your right
hand
• Grasp Upper Joint with your left
hand

24

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

SITTING TO PLAY THE CLARINET

In most cases, you will play the instrument while seated.
Assuming the correct sitting posture ensures that you do
not tire out your body and lungs and further enhances
your ability to play the clarinet.

To assume the sitting posture to play the clarinet, follow
the steps listed below:
1.) While grasping the clarinet, sit at the edge of your
seat with your back upright. Ensure that you are
not resting against the back of your seat.

2.) Plant your feet firmly on the floor at a comfortable
distance from the seat. The soles of your feet
should lie flat.

3.) Ensure that the Bell of the clarinet is between your
knees.

4.) Tuck your elbows comfortably by the sides of your
torso. They should not flare outward.

STEPS TO SITTING TO PLAY THE
CLARINET:
• Sit at the edge of your seat, with
your back upright
• Plant your feet firmly on the ground
• Ensure that the Bell is between your
knees
• Tuck in your elbows by the side of
your torso

25

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

STANDING TO PLAY THE CLARINET

In some instances, you will play the instrument while
standing. Assuming the correct posture while standing to
play the clarinet ensures that will not tire out your body
and lungs.

To assume the standing posture to play the clarinet,
follow the steps listed below:

1.) While grasping the clarinet, stand with your back
upright.

2.) Plant your feet firmly on the floor, with the soles
of your feet lying flat.

3.) Ensure that the Bell of the clarinet is between your
knees.

4.) Place your elbows comfortably by the sides of your
torso. Your elbows should be tucked in and not
flaring outward.

STEPS TO STANDING TO PLAY THE
CLARINET:
• Stand with your back upright
• Plant your feet firmly on the ground
• Tuck in your elbows by the side of
your torso

26

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PRODUCING SOUND WITH THE
CLARINET

Considered by many to be the most difficult and the most
frustrating, producing sound with the clarinet involves the
interplay of two complex actions. These actions include
forming the embouchure, and blowing air into the clarinet.
Each of these actions is crucial to producing sound with
the clarinet, and the inability to correctly perform any one
of these actions will result in you not being able to
produce sound with the clarinet.

FORMING THE EMBOUCHURE

The embouchure, pronounced ahm-boo-shoor, is
defined as the use and shaping of the facial muscles and
lips to the mouthpiece of an instrument in order to
produce sound. The clarinet has a single embouchure,
although variations exist. The clarinet embouchure
involves the muscles your lips, jaw, cheeks and chin.

To form the clarinet embouchure, there are two steps
you must follow:

1.) Stretch your lower lip firmly over the ridge of your
lower teeth, as if you were applying Chap-stick.

2.) Point your chin, by pulling your chin downward
while having your lower lip stretched firmly over the
ridge of your lower teeth.

After completing this section, you
will be able to:

Form the embouchure

Blow air into the clarinet

27

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

3.) Holding your head upright, with your lower lip
stretched over the ridge of your lower teeth and with
your chin pulled downward, place a quarter to a half
inch of the assembled Mouthpiece and Reed in your
mouth, with the Reed on your lower lip.

4.) Gently bite down on the assembled Mouthpiece and
Reed using your upper teeth.

5.) Seal the space around the assembled Mouthpiece and
Reed by firmly drawing your upper and lower lip
around the assembled Mouthpiece and Reed, such
that air can only blow into the assembled Mouthpiece
and Reed.

6.) The corners of your mouth should be turned upward
slightly, without laterally stretching the mouth.

7.) Clench your cheeks, as if you were trying to cool down
a cup of hot coffee.

STEPS TO FORMING THE EMBOUCHURE:
1. Stretch your lower lip over your lower
teeth
2. Point your chin
3. Place Mouthpiece and Reed in your
mouth
4. Gently bite down on Mouthpiece and
Reed
5. Seal space around Mouthpiece and Reed
6. Slightly turn the corners of your mouth
upward
7. Clench your cheeks

28

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

BLOWING AIR INTO THE CLARINET

Blowing air into the clarinet is a relatively simple task if you
can correctly form the embouchure. You blow air into the
clarinet through the gap between the Mouthpiece and the
Reed.

While blowing air into the clarinet,
remember the following things:
 NEVER touch the Reed with your teeth!
 AVOID touching the Reed with your tongue!
 DO NOT open your mouth to inhale!

To blow air into the clarinet, it is important to do the
following:

1.) With the embouchure formed and the assembled
Mouthpiece and Reed placed in your mouth, blow
a steady stream of air into the gap between
Mouthpiece and Reed.
2.) Inhale through your nose or using only the corners
of your mouth.

STEPS TO BLOWING AIR INTO THE
CLARINET:
1. Blow a steady stream of air into the
gap between the Mouthpiece and

Reed
2. Inhale through your nose or using the
corners of your mouth
29

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

TONGUING THE REED

Playing music on the clarinet will without doubt involve
phrases of short notes. To accomplish this, you will tongue
the Reed. This stops the vibration of the Reed and
subsequently the production of sound. You do not stop
blowing into the instrument to play phrases of short notes.

While producing sound with the clarinet, say ‘Ta’. This will
push your tongue up against the Reed and stop sound
production.

PRACTICE:

Take a few moments to practice saying ‘Ta.’ Make sure
that your teeth are slightly apart, and that the tip of your
tongue is hitting the space in between your upper and
lower teeth.

Now that you know a bit more about the standing and
sitting positions, forming the embouchure, blowing air
into the clarinet and tonguing the reed, you have the
information needed to pr oduce sound with the clarinet.

STEPS TO TONGUING THE REED:
• Say ‘Ta’ into the clarinet while
producing sound
30

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 2 SELF-ASSESSMENT
Write your answer in the space provided using a complete sentence. Do not refer to the chapter.
1.) List the steps, in order, to assemble the parts of the clarinet.

2.) When assembling the Mouthpiece and the Reed, what are the two items that you must consider?

3.) List the steps, in order, to assemble the body of the clarinet.

31

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 2 SELF-ASSESSMENT (CONTINUED)
4.) What are the two ways you can position yourself to play the clarinet?

5.) When grasping the clarinet, where is your left hand, and where is your right hand?

Circle the correct answer.
6.) Before performing with the clarinet you will always determine whether to:
_ Sit or stand to play.
_ Disassemble the clarinet.
_ Grease the cork.

32

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 2 SELF-ASSESSMENT (CONTINUED)
7.) What are the four points you must complete when sitting to play the clarinet?

8.) What are the three points you must complete when standing to play the clarinet?

9.) What are the two things you must do in order to produce sound from the clarinet?

10.) When tonguing the reed of the clarinet, what sound do you say into the Mouthpiece?

33

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 2 SELF-ASSESSMENT (ANSWER KEY)
Write your answer in the space provided using a complete sentence. Do not refer to the chapter.
1.) Describe the phases and steps in the assembly of the clarinet.
(See “Assembling the Clarinet”)
 Attach Bell to Lower Joint.
 Attach Lower Joint to Upper Joint.
 Attach Barrel to Upper Joint.
 Attach Mouthpiece to Barrel.
 Attach Reed to Mouthpiece.
2.) When assembling the Mouthpiece and the Reed, what are the two items that you must consider?
(See “Assembling the Mouthpiece and Reed”)
 The Reed is moist.
 Reed must be high enough to cover the hole in the Mouthpiece, but low enough to allow the Reed to vibrate
during play.

3.) List the steps, in order, to assemble the body of the clarinet.
(See “Assembling the Bell, Lower Joint, Upper Joint and Barrel”)
 Attaching the Bell to the Lower Joint.
 Attaching the Barrel to the Upper Joint.
 Attaching the Lower Joint with attached Bell to the Upper Joint with attached Barrel.
34

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 2 SELF-ASSESSMENT (ANSWER KEY)
4.) What are the two ways you can position yourself to play the clarinet?
(See “Positioning Yourself to Play”)
 Sitting.
 Standing.

5.) When grasping the clarinet, where is your left hand, and where is your right hand?
(See “Grasping the Clarinet”)
 Around the Upper Joint with your thumb resting on the Octave key
 Around the Lower Joint with your thumb resting under the thumb-rest

6.) Before performing with the clarinet you will always determine whether to …?
(See “Positioning Yourself to Play”)
_ Sit or stand to play.
35

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 2 SELF-ASSESSMENT (ANSWER KEY)
7.) What are the four points you must complete when sitting to play the clarinet?
(See “Sitting to Play the Clarinet”)
 Sitting on the edge of the seat with your back upright.
 Planting feet firmly on the floor.
 Ensuring that the Bell is between your knees.
 Having your elbows tucked in by your torso.

8.) What are the three points you must complete when standing to play the clarinet?
(See “Standing to Play the Clarinet”)
 Standing with your back upright.
 Planting your feet firmly on the floor.
 Having your elbows tucked in by your torso.

9.) What are the two things you must do in order to produce sound from the clarinet?
(See “Producing Sound With the Clarinet”)
 Correctly form the clarinet embouchure.
 Blow air into the clarinet.
36

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 2 SELF-ASSESSMENT (ANSWER KEY)
10.) When tonguing the reed of the clarinet, what sound do you say into the Mouthpiece?
(See “Tonguing the Reed”)
 ‘Ta’
If you have answered each question
correctly, then congratulations! You are
now ready for Chapter 3 . If not, then
please review the material in the
previous chapter and retake the Self
Assessment before moving on.

37

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

READING MUSIC
After completing this chapter, you will
be able to:
 Read Music
-
Identify Parts of the Staff
-
Identify Note and Rest Values
-
Name Notes on the Staff
-
Identify Flats, Sharps and Naturals
-
Identify Slurs, Staccatos and Repeats
-
Identify Tempo and Dynamics
38

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

READING MUSIC
BEFORE YOU BEGIN…

The ability to read music is a crucial skill for you to have
when you are learning how to play any musical
instrument. You will find that learning how to read music
is a lot like learning how to read a book. It involves being
able to see a symbol on a page and translating into a
physical interaction with the clarinet.

In this chapter, we will learn the basics of reading musical
notation. You will then be able to find and read sheet
music for songs that you might like to play on the clarinet.

39
After completing this section, you
will be able to:
 Identify the parts of the Staff
 Identify Note Values
 Identify Rest Values
 Name Notes on the Staff
 Identify Flats, Sharps and
Naturals
 Identify Slurs and Staccatos
 Identify Repeats
 Identify Tempo and Dynamics

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE PARTS OF THE STAFF
THE STAFF
Musical symbols are written on a staff. The staff is made
up of five horizontal lines and four spaces, each
representing a single note. When playing the clarinet, you
will read the symbols from right to left.

There are a few different types of staffs. Each staff refers
to a specific range of notes, either low or high, that can be
played by various instruments.

THE TREBLE CLEF

When playing the clarinet, you will use a Treble Staff . The
treble staff is used for high notes. It is marked with a
symbol called the Treble Clef. The treble clef is also called
the G- Clef because the tail of it curls around the staff line
that marks the G note.

MEASURES
The staff is broken down into smaller units called measures
by a vertical line known as the bar line. Measures divide a
song into segments where each segment contains a set
number of beats.

Songs are made up of multiple measures. A double bar
line at the end of the staff signals to you that you have
reached the end of the song or musical phrase.

40
Staff

Treble
Clef

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

As we said earlier, measures divide a song into segments
with each segment containing a set number of beats. You
may be wondering how many beats are in each measure.
The answer depends on the music that you are playing.

THE TIME SIGNATURE
Each song has something called a Time Signature. A time
signature is a symbol that has two purposes:
To specify the number of beats per measure.
To specify which notes gets only one beat.

The time signature sits on the staff, after the treble clef,
at the beginning of a piece of music. Simple time
signatures look like fractions:

41
We will explain the second
purpose of the time signature later
in this chapter. For now, we will
focus on how the time signature
tells you how many beats are in
each measure of a song.
Time
Signature

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

The number on top, the “numerator,” is the number of
beats in each measure of the song.

The most widely used time signature is. In fact, it is
called Common Time and sometimes appears as a on
the music staff instead of .

The staff, measures, treble clef and time signature are the
very basic elements of sheet music. Together, they form
the page upon which the rest of the music is written.

42
Example: If you have atime
signature, then there are 4 beats in
each measure of the song.
If you have a time signature, then
there are 6 beats in each measure.

THE TREBLE STAFF:
• Is composed of five horizontal
lines and four spaces

•
Contains Measures
•
Is marked by a Treble Staff
•
Has a Time Signature

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

NOTES
Earlier we spoke about the time signature and how it is
used to divide lines of the sta ff into measures based on a
set number of beats. In order to fully understand this, you
need to know what a beat is.

A beat is the “pulse” of a song. Much like your own
heartbeat, it is what we use to keep rhythm. When you
clap your hands, you create a beat each time the palm of
your hands meet.

Now that we understand what a beat is, we can discuss
the second purpose of the time signature. The bottom
number in the time signature fraction tells you what note
receives one beat. When the number is 4, it means that a
quarter note is one beat long.

In Common Time, also known as the 4/4 time signature,
the rhythm of a song matches the second hand of a clock.
Each second is one beat long. Find a clock with a second
hand and try to clap a 4/4 beat. The key here is to keep it
a steady beat.

43

The second purpose of the time
signature is to tell you which
note receives one beat.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE WHOLE NOTE

The first note that we will look at is the Whole Note. The
whole note is represented in musical notation by a hollow
oval.

It is held for a count of four beats. When you are clapping,
you must clap on the first beat but, instead of clapping
again on the second, you would leave your palms together
for the remaining three beats. Thinking back to Chapter 2,
for a whole note, you will tongue the clarinet only on the
first beat, and blow into the instrument continuously for a
count of four.

THE HALF NOTE

The next note you need to know about is the Half Note. It
works exactly as its name suggests: the half note is held
for half of the number of beats that the whole note is held
for. It is held for a count of two beats.

After completing this section, you
will be able to:
- Identify Whole Notes
- Identify Half Notes
- Identify Quarter Notes
- Identify Eighth Notes
Whole Note
44

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

Visually, the half note looks similar to the whole note. It
consists of a hollow oval with a stem attached.

Depending on where the half note sits on the staff, the
stem will be pointed up or down. If the note sits below the
third or middle line on the staff, then the stem will be on
the right side of the oval and point up. If the note is on or
above the third staff line, the stem sits on the left side of
the oval and points downward.

The half note is held for a count of two beats. When you
are clapping, you must clap on the first beat but, instead of
clapping again on the second, you would leave your palms
together for the remaining beat. Thinking back to Chapter
2, on a half note, you will tongue the clarinet only on the
first beat, and blow into the instrument continuously for a
count of two.

45
Half Notes

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE QUARTER NOTE

Another note used in musical notation is the Quarter
Note. Just like the half note, which is ½ the value of the
whole note, the quarter note is one quarter or ¼ of the
value of the whole note. This means that the quarter note
is held for one beat.

The quarter note looks similar to the half note. It consists
of an oval and a stem, but it is different from the half note
because the oval is not hollow. Instead, it is filled solid.

The stems follow the same rules as with the half note.
Depending on where the note sits on the staff, the stem
will be pointed up or down. If the note sits below the
third or middle line on the staff, then the stem will be on
the right side of the oval and point up. If the note is on or
above the third staff line, the stem sits on the left side of
the oval and points downward.

Because the quarter note equals one beat, there is no
need to worry about how many additional beats to hold
the sound for after tonguing the clarinet.

46
Quarter Notes

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE EIGHTH NOTE

The last note that we will look at is the Eighth Note. The
eighth note is one- eighth the value of the whole note. This
means that the quarter note is held for half of a beat.

The flag on the eighth note points away from the note
itself. When two eighth notes appear together in a
measure, one right after another, their flags are joined
together.

The stems follow the same rules as with the half note.
Depending on where the note sits on the staff, the stem
will be pointed up or down. If the note sits below the
third or middle line on the staff, then the stem will be on
the right side of the oval and point up. If the note is on or
above the third staff line, the stem sits on the left side of
the oval and points downward.

THE DOTTED NOTE

When a dot is added after a note, it increases the value of
a note by ½ of its original value. For example:
= 6 beats

= 3 beats

Eighth Notes

Although it sounds nearly
impossible, you will find that
holding an eighth note for half a
beat is really very simple.
The eighth note looks similar to
the quarter note. It also consists
of a solid-filled oval and stem,
but also has a flag attached to it.
47

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

RESTS

Notes tell you when and how long to play your clarinet
for. Rests do the opposite. They let you tell you when to
take breaks from playing. Just like notes, there are
different rests with different rest values.

THE WHOLE REST

In musical notation, just as there is a whole note, there is
a Whole R est. The whole rest tells you to take a break
from playing (or rest) for a count of four beats. The whole
rest looks like an upside down top hat:

After completing this section, you
will be able to:
 Identify Whole Rests
 Identify Half Rests
 Identify Quarter Rests
 Name Eighth Rests
48
THE NOTE VALUES:
 - Whole Note: Held for four beats.
 - Half Note: Held for two beats.
 - Quarter Note: Held for one beat.
 - Eighth Note: Held for half of a beat.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

It sits underneath the fourth line of the music staff,
looking like this:

THE HALF REST

THE HALF REST

The Half Rest is a rest that tells you to pause from
playing for a count of two beats. Its value is half of the
value of the whole rest. The shape of the half rest is
similar to that of the whole rest. It looks like a top hat
turned right side up:

It sits above the third line of the staff:

THE QUARTER REST

The Quarter Rest makes you take a break for one beat. It
has a value that is one quarter of the value of the whole
rest. I t looks like this:

49

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

The quarter rest sits on the three middle lines in the
music staff, like this:

THE EIGHTH REST

The Eighth Rest is a rest that tells you to pause from
playing for a count of half of a beat. Its value is one -
eighth of the value of the whole rest. The eighth note
looks like this:

It sits in between the second and fourth lines on the
music staff, like this:

50
THE REST VALUES:
• Whole Rest: Held for 4 beats
• Half Rest: Held for 2 beats
• Quarter Rest: Held for 1 beat
• Eighth Rest: Held for ½ beat

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

NOTE NAMES

You have already learned about about note values, or how
many beats each note is worth. Now we will show you
how placement of these notes on the staff translate into
which key or lever you will play on the instrument.

In music today, notes are given one of seven names which
relate to the beginning letters of the alphabet: A, B, C, D,
E, F and G. Lines and spaces on the staff each correspond
with one of these note names. If you play the notes in
order from A to G, then you would restart with A again,
but at a higher pitch. Eight notes in a row are referred to
as an Octave .

The lines on the treble staff, beginning from the bottom
and moving upward, are marked E, G , B, D and F. This
might be easier for you to remember with the phrase
“Every G ood Boy Does Fine” or “E very G ood Boy
Deserves Fudge.”

After completing this section,
you will be able to:
 Name the notes on the staff
51

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

The spaces in between the lines on the treble staff,
starting from the bottom and moving upward, are marked
F, A, C and E. This might be easier if you think of the word
“FACE”.

Not all of the notes that a clarinet plays can be found on
the staff. The clarinet reaches lower and higher notes
than what can be written on the staff. It is for this reason
that Ledger Lines are used. Ledger lines are smaller lines
that are written above or below the lines of the staff to
accommodate the notes that do not fit on the staff. They
correspond with the lines of the staff and act as though
they are an extension of it.

The notes on the ledger lines follow the same order as
the notes on the staff.

52
NOTE NAMES:
• Lines of the Staff
“Every Good Boy Does Fine”
•
Spaces of the Staff
“FACE”
• Ledger Lines

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FLATS, SHARPS AND NATURALS

NATURALS

The pitch of a note refers to how high or low the sound is.
The distance between to pitches is measured in half steps
and whole steps. Most notes are a whole step apart,
although there are some that are only a half step apart.
The notes you learned about in the previous section are
called Naturals . These are notes that are neither flat nor
sharp.

FLATS

Notes that are a half step lower than a natural note are
called Flat. In sheet music, a note is marked flat by the use
of a symbol that looks like a lowercase b. This symbol can
either appear in a key signature at the beginning of the
music staff or, if the note only appears once or twice in a
song, right before the flat note in the music.

The Key Signature is notation
at the beginning of the staff
that lists the Flats and Sharps
that are used throughout a
song.
53
After completing this section, you
will be able to:
 Identify Natural Notes
 Identify Flat Notes
 Identify Sharp Notes

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

Example of Flats in the Key Signature

When a note is marked Flat in the Key Signature, then you
will always play the Flat of the note instead of the natural.
In the above example, you would play all B notes and all E
notes as B- Flat and E- Flat throughout the song.

Example of a note marked Flat during the song

When a note is marked with a Flat symbol right before the
note, then that note is played as a flat for only that
measure of the song.

SHARPS

Notes that are a half step higher than a natural note are
called Sharp . In sheet music, a note is marked sharp by
the use of a symbol that looks like a hash mark or pound
sign.

This symbol can either appear in a key signature at the
beginning of the music staff or, if the note only appears
once or twice in a song, right before the sharp note in the
music.

54

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

Example of Sharps in the Key Signature

When a note is marked Sharp in the Key Signature, then
you will always play the Sharp of the note instead of the
natural. In the above example, you would play all F notes
and all C notes as F-Sharp and C-Sharp throughout the
song.

Example of Sharps Before a Note

When a note is marked with a Sharp symbol right before
the note, you will play the note as a sharp for only that
measure of the song.

Sometimes a note that was
marked flat or sharp in the key
signature needs to be played as
a natural once or twice during
the song. The note will have
the Natural Symbol, or
before it.
55

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

SLURS AND STACCATO

By now, you have an idea of how to read musical notes
and rests. Now we will work on learning how to interpret
some of the variations of the way that notes can be
played. These give music its depth and emotion. If you
are not able to interpret these when you play the
clarinet, then your music will be a lot like food made
without any seasoning. You can eat it, but it will not be
as tasty and flavorful as it would be if you added some
spices.

We begin by talking about two such variations in music:
slurs and the staccato.

SLURS

A slur is a symbol in musical notation that indicates to
you that the notes contained within it must be played
fluidly and without separation. The meaning of this
differs between instruments, but for a clarinet, it means
that you must play the notes without tonguing them.

56
FLATS, SHARPS AND NATURALS:
• Flat – Note is played ½ step lower.
• Sharp – Note is played ½ step higher.
• Natural – The natural note is played.
• Key Signature – Notation used at the
beginning of the staff to let you know
what flats and sharps are used.
After completing this section,
you will be able to:
 Identify a slur
 Identify staccato

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

The slur looks like a curved line placed over or under the
notes. The line is placed over the notes if the stems of the
notes point downward:

The curved line is placed under the notes if the stems of
the notes point upward:

STACCATO

Staccato is different from the slur. Staccato is a symbol
that indicates to you to play the notes as though they
were separate, disjointed sounds. Unlike slurred notes,
staccato notes are not fluid. They are usually short, fast
bursts. You will know that a note is staccato if you see a
dot over the note, like this:

57

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

REPEATS

When you play a song that has verses or repeated
musical phrases, it makes little sense to repeatedly write
the same lines of music over and over again. Instead,
there are symbols that tell you to repeat whole songs or
verses, or repeat a few measures of a song. We will take
a look at one of these types of symbols.

A repeat sign is used in music to let you know that a
measure or series of measures are to be played again. It
looks like two dots before a double bar line at the end of
a measure:

The point that you will repeat from will have an inverted
repeat sign that looks like this:

SLURS AND STACCATO:
• Slur indicates notes must be play ed
fluidly and without separation. They are
played on a clarinet by not tonguing the
notes.
• Staccato indicates notes must be played
short and fast.
58
After completing this section,
you will be able to:
 Identify repeats

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

If there is no inverted repeat sign, then the song is played
again from the beginning.

Musical Phrase With Repeats

TEMPO AND DYNAMICS

There are two more musical variations that are very
important to know when playing music. They help to set
the mood of any piece you are performing. In this
section, you will take a look at how tempo and volume
are displayed in musical notation.

REPEATS:
• The repeat sits at the end of
the song or musical phrase you want to
repeat.
• The inverted repeat sits at the
beginning of the measure you want to
start repeating from.
59

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

TEMPO

Tempo is the speed at which music is played. It is
extremely crucial during the performance of any piece of
music. The tempo affects the mood of the music, as well
as the difficulty of it.

Usually the tempo of a piece of music is indicated by one
or more words at the start of the piece. Most of the
words used to describe the tempo are in Italian. This is
because tempo indications were first used extensively in
the 17
th
century, when many of the important composers

were Italian.

Although there are numerous words to describe tempo,
two of the most common are Adagio and Allegro.
Adagio is used for music that is to be played slowly and
restfully. Allegro is used when a song is supposed to be
fast and lively. The word to describe the tempo is
written above the first measure of the musical piece.

After completing this section, you
will be able to:
 Identify Tempo
 Identify Dynamics
60

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

DYNAMICS

The volume of a musical piece is referred to as the
Dynamics of a piece. There are two basic dynamic
descriptions that are used in music – Piano and Forte.
Piano means that the music must be played softly; Forte
means that it must be played loudly. The dynamic is
marked underneath the staff lines using letters.

For piano, a lowercase p is used:

For forte, a lowercase f is used:

The dynamic of a piece of music tends to fluctuate
during the song. In this case, hairpin- like symbols are
used in conjunction with the piano and forte symbols to
signify the increase and decrease in volume.

Increasing volume:

Decreasing volume:

61
Music begins loud and gradually increases in volume until
the A note.
Music begins soft and begins to gradually decrease during
the whole C note at the end.
TEMPO AND DYNAMICS:
• Adagio – Played slow and restful
• Allegro – Played fast and lively
• Piano – Played softly
• Forte – Played loudly
• Gradually increasing volume
• Gradually decreasing volume

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

A musician spends many years learning all of the
symbols used in musical notation. There are literally
thousands of symbols. By completing this chapter, you
have learned a large number of symbols; enough to get
you started on your journey to learn to play the clarinet.

By combining your knowledge of these symbols with the
other skills you acquire as you complete this manual,
you will be able to play beautiful music on the clarinet.

It is important, however, to remember to practice
reading music. The more you work at it, the faster you
will be able to read and translate the symbols, resulting
in a smoother performance with your clarinet.

It is also very important to your performance to continue
learning about musical notation. The internet can be a
great resource for learning the meaning of new musical
symbols.

62

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 3 SELF-ASSESSMENT
Circle the answer to the question. Select all that apply. Do not refer to the chapter.
1.) Which of these are not symbol types used in musical notation?
a.) Staff
b.) Notes
c.) Rests
d.) Tables
e.) Springs

Write your answer in the space provided.
2.) Match the term with the corresponding symbol.
_ Staff
_ Treble Clef
_ Measure
_ Time Signature

a.)

b.)

c.)

d.)

63

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 3 SELF-ASSESSMENT (CONTINUED)
Write your answers in the spaces provided.

3.) Name the following notes:

a.) ________________

b.) _________________

c.) _________________

d.) _________________

4.) Name the following rests:

e.) ________________

f.) _________________

g.) _________________

h.) _________________

Label the part of the picture that corresponds with the
answer.

5.) Label the notes on the staff.

___ ___ ___ ___ ___

6.) Label the notes on the staff.

___ ___ ___ ___

64

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 3 SELF-ASSESSMENT (CONTINUED)

Write your answers in the spaces provided.

7.) Match the term with the corresponding symbol .
_ Flat
_ Natural
_ Sharp
_ Repeat
_ Staccato
_ Slur

a.)

b.)

c.)

d.)

e.)

f.)

8.) Match the Italian term with its corresponding
English translation.
_ Adagio a.) Soft
_ Forte b.) Fast and lively
_ Piano c.) Loud
_ Allegro d.) Slow and relaxed

65

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 3 SELF-ASSESSMENT (ANSWER KEY)

66
(See “Reading Music”)

(See “The Parts of the Staff”)

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 3 SELF-ASSESSMENT (ANSWER KEY)

67
(See “Notes”)

(See “Rests”)

(See “Note Names”)

(See “Note Names”)

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 3 SELF-ASSESSMENT (ANSWER KEY)

If you have answered each question
correctly, then congratulations! You
are now ready for Chapter 4. If not,
then please review the material in
the previous chapter and retake the
Self Assessment before moving on.

68
(See “Reading Music”)

(See “Tempo and Dynamics”)

Into Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING THE NOTES

After completing this chapter, you will
be able to:

 Finger Notes
-
Finger Left Hand Notes
-
Finger Left Hand and Right Hand Notes
-
Finger Left Hand and Right Hand Notes with the
Octave Key

- Finger Flats

69

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING THE NOTES
To play the clarinet, you must not only be able to produce
sound with the instrument, but also be able to manipulate
the pitch of the sound being produced by the clarinet.
Fingering is defined as the operation of the numerous
holes and keys of the instrument by the use of your
fingers.

Using the convention defined in the box on the left , the
Register hole and its attached ring key on the back of the
Upper Joint is designated LTH. The Register Key on the
back of the Upper Joint is designated LTK . The six finger
holes and their attached ring keys, starting from the top of
the Upper Joint to the bottom of the Lower Joint, are
designated LIH, LMH, LRH, RIH, RMH, and RRH . The set of
four keys on the bottom-right of the Upper Joint are
designated RIK1, RIK2, RIK3, and RIK4 . The set of three
keys on the top- left of the Lower Joint are designated
LPK1, LPK2, and LPK3 . The set of four keys at the bottom-
right of the Lower Joint are designated RPK1, RPK2, RPK3,
and RPK4. The vertical key on the front of the Upper Joint
just above the uppermost finger hole (LIH) is designated
LIK.

• 1
st
character: Uses a letter. Defines whether the left-
hand or the right-hand is being used. Includes L for
the left-hand and R for the right-hand.
• 2
nd
character: Uses a letter. Defines which finger is
being used. Includes T for the thumb, I for the index
finger, M for the middle finger, R for the ring finger
and P for the pinky finger.
• 3
rd
character: Uses a letter. Defines whether a hole is
being closed or a key is being pressed. Includes H for
holes and K for keys
• 4
th
character: Uses a number. Defines an individual
key in a set of keys operated by the same finger.
Includes 1, 2, 3 and 4

70

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING LEFT- HAND NATURALS

The left-hand of the clarinetist is used to finger naturals
which include Middle C, D, E, F, G, and A. All of these
naturals are fingered on the Upper Joint of the clarinet.
The table below describes the fingering and provides the
fingering chart for each of the above mentioned naturals:

Middle C: Close LTH, LIH, LMH and LRH.

D: Close LTH , LIH and LMH.

E: Close LTH and LIH.

71

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING LEFT- HAND NATURALS
F: Close LTH .

G: No hole or key operated.

A: Press LIK .

Fingering Left hand naturals:
• MIDDLE C
• D
• E
• F
• G
• A
72

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING LEFT- HAND AND RIGHT-HAND NATURALS

The left-hand and right-hand of the clarinetist is used to
finger naturals which include Low F, Low G, Low A and
Low B. All of these naturals are fingered on both the
Upper Joint and the Lower Joint of the clarinet. The table
below describes the fingering and provides the fingering
chart for each of the above mentioned naturals:

Low F: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH ,
and press RPK2 .

Low G: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH .

73

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING LEFT- HAND AND RIGHT-HAND NATURALS

The left-hand and right-hand of the clarinetist is used to
finger naturals which include Low F, Low G, Low A and
Low B. All of these naturals are fingered on both the
Upper Joint and the Lower Joint of the clarinet. The table
below describes the fingering and provides the fingering
chart for each of the above mentioned naturals:

• Low F: Close LTH, LIH, LMH, LRH, RIH, RMH and
RRH, and press RPK2.

• Low G: Close LTH, LIH, LMH, LRH, RIH, RMH and
RRH.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING LEFT- HAND AND RIGHT HAND NATURALS

Low A: Close LTH, LIH , LMH, LRH , RIH, and RMH .

Low B: Close LTH, LIH, LMH, LRH and RMH .

Fingering Left hand and right hand
naturals:
• LOW F
• LOW G
• LOW A
• LOW B
74

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING LEFT- HAND AND RIGHT-HAND NATURALS WITH THE REGISTER KEY

The left-hand and right-hand of the clarinetist, along with
the Register key, is used to finger naturals which include
B, High C, High D and High E. All of these naturals are
fingered on both the Upper Joint and the Lower Joint of
the clarinet, while having the Register key pressed. The
table below describes the fingering and provides the
fingering chart for each of the above mentioned naturals:

B: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH, and
press LTK, LPK1 and RPK2.

HIGH C: Close LTH, LIH, LMH, LRH, RIH, RMH and RRH,
and press LTK and RPK2.

75

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING LEFT- HAND AND RIGHT-HAND
NATURALS WITH REGISTER KEY

HIGH D: Close LTH, LIH , LMH, LRH , RIH, RMH and
RRH, and press LTK .

HIGH E: Close LTH, LIH, LMH, LRH, RIH, and RMH , and
press LTK .

Fingering Left-Hand and Right-Hand
Naturals With Register Key:
• B
• HIGH C
• HIGH D • HIGH E
76

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING FLATS

Your right and left hands, along with the Register key, are
used to finger flats, including the Low B -Flat and B- Flat.
Low B-Flat is fingered on both the Upper Joint and the
Lower Joint of the clarinet, while B- Flat is fingered only on
the Upper Joint with the Register key pressed. The table
below describes the fingering and provides the fingering
chart for both the above mentioned flats:

LOW B FLAT: Close LTH, LIH, LMH, LRH, RIH, RMH and
RRH, and press LTK, LPK1 and RPK2.

B FLAT: Press LTK and LIK.

77

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

FINGERING SHARPS

Your left and right hands, along with the Register key, are
used to finger flats, including the Low F-Sharp and F-
Sharp. Low F-Sharp is fingered on both the Upper Joint
and the Lower Joint of the clarinet, while F-Sharp is
fingered only on the Upper Joint of the clarinet. The steps
below describes the fingering and provides the fingering
chart for both the above- mentioned sharps:

LOW F SHARP: Close LTH, LIH, LMH, LRH, RIH, RMH
and RRH, and press RPK3 .

F SHARP : Close LIH.

78

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT
This self-assessment activity will test your knowledge and understanding of the subject matter presented in Chapter 4.
Answer the questions that follow without referring back to the materials.
1.) What are the six naturals you can play using only your left hand on the clarinet? Draw the naturals on the music
staff provided, using whole notes.

2.) What are the fingerings for each of the six naturals that you can play using only your left hand on the clarinet?
Shade in the fingering on the diagrams provided.

79

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT
Answer the questions that follow without referring back to the materials.
3.) What are the six naturals you can play using only your left hand on the clarinet? Draw the naturals on the music
staff provided, using whole notes.

4.) What are the fingerings for each of the six naturals that you can play using only your left hand on the clarinet?
Shade in the fingering on the diagrams provided.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT (CONTINUED)
3.) What are the four naturals you can play using your left and right hands on the clarinet? Draw the naturals on the
music staff provided, using whole notes.

4.) What are the fingerings for each of the four naturals that you can play using your left and right hands on the
clarinet? Shade in the fingering on the diagrams provided.

80

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT (CONTINUED)
5.) Name the note that each diagram illustrates. Write your answer in the space provided.
___________ ___________
___________ ___________

81

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT (CONTINUED)
6.) Name the note that each diagram illustrates. Write your answer in the space provided.
___________ ___________
7.) Name the note that each diagram illustrates. Write your answer in the space provided.
___________ ___________

82

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT (ANSWER KEY)
This self-assessment activity will test your knowledge and understanding of the subject matter presented in Chapter 4.
Answer the questions that follow without referring back to the materials.
1.) What are the six naturals you can play using only your left hand on the clarinet? Draw the naturals on the music
staff provided, using whole notes. (See “Fingering Left Hand Naturals”)

2.) What are the fingerings for each of the six naturals that you can play using only your left hand on the clarinet?
Shade in the fingering on the diagrams provided. (See “Fingering Left Hand Naturals”)

83

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT (CONTINUED) (ANSWER KEY)
3.) What are the four naturals you can play using your left and right hands on the clarinet? Draw the naturals on the
music staff provided, using whole notes.(See “Fingering Left- Hand and Right-Hand Naturals”)

4.) What are the fingerings for each of the four naturals that you can play using your left and right hands on the
clarinet? Shade in the fingering on the diagrams provided. (See “Fingering Left- Hand and Right-Hand Naturals”)

84

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT (CONTINUED) (ANSWER KEY)
5.) Name the note that each diagram illustrates. Write your answer in the space provided.
(See “Fingering Left- Hand and Right-Hand Naturals With Register Key”)
B High D
High E High C
85

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4 SELF-ASSESSMENT (CONTINUED) (ANSWER KEY)
6.) Name the note that each diagram illustrates. (See “ Fingering Flats”)
Low B-Flat B- Flat
7.) Name the note that each diagram illustrates. (See “ Fingering Sharps”)
Low F-Sharp F-Sharp
If you have answered each
question correctly, then
congratulations! You are
now ready for Chapter 5.
If not, then please review
the material in the
previous chapter and
retake the Self Assessment
before moving on.
.
86

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PLAYING SCALES
After completing this chapter, you will
be able to:
 Play Scales
-
Play the B-Flat Major Scale for Clarinet
-
Play the E-Flat Major Scale for Clarinet

87

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PLAYING SCALES

BEFORE YOU BEGIN…

In the previous chapters, you’ve learned quite a few new
skills. So far you’ve worked on learning how to:
 Position yourself to play clarinet.
 Read musical notation.
 Finger notes on the clarinet.

Now it is the time to begin to put all of these skills
together as we work towards your ultimate goal of
learning how to play the clarinet. Before jumping right
into playing songs, it is important to first make sure
that you are able to maintain a steady sound from the
instrument, as well as that you are practiced in using
your fingers to move quickly and smoothly from one
note to another. In this chapter, you will learn one of
the best techniques to accomplish this – practicing
scales.

SCALES

A scale is a group of musical notes in an ascending or
descending order. A Major scale has seven distinct notes,
plus an additional note which duplicates the first one an
octave higher than the first.

88
After completing this section, you
will be able to:
 Play the B-Flat Major Scale
 Play the E-Flat Major Scale

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE B-FLAT MAJOR SCALE

The B-Flat Major Scale is the easiest scale to remember
for the clarinet. Beginning from the middle C and
ascending upward towards the high C note, it contains no
sharp or flat notes. Written in musical notation, the B-
Flat major scale for the clarinet looks like this:

The B- Flat major scale also gives you an opportunity to
practice changing fingering from the A note to the B
note, using the octave key. This ability, to move from
the middle A to the B natural, is a skill called “crossing
the bridge.” This is a skill that comes from lots of
practice, so do not be discouraged if it takes a few tries
to make the smooth transition from one note to
another.

89
The clarinet is a B-flat transposing
instrument. This means that the clarinet’s C
note is the same as a B-flat note on an
instrument such as the piano. For this
reason, the B-Flat Major scale for clarinet is
exactly the same as the C-Major scale for
piano.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE FINGERING CHART FOR THE B-FLAT MAJOR SCALE:

90

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PRACTICE:
Position yourself to play your clarinet. Play through each line of the scale repeatedly until you feel c onfident with your
ability to reach and maintain a steady note, as well as your ability to move your fingers comfortably from one note to
another. If necessary, refer to the Fingering Chart in Chapter 4.

91

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE E-FLAT MAJOR SCALE

The E- Flat Major Scale is another scale to remember for
the clarinet. Beginning from the low F and ascending
upward towards the middle F note, it contains one flat
note, a low B- flat. Written in musical notation, the E- Flat
major scale for the clarinet looks like this:

Playing the E-Flat major scale gives you an opportunity
to practice maintaining steady sound in the lower
octave of the instrument.

Remember that the clarinet is a B-
flat transposing instrument. For this
reason, the E-Flat Major scale for
clarinet is exactly the same as the F-
Major scale for piano.
92

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

THE FINGERING CHART FOR THE E -FLAT MAJOR SCALE:

93

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PRACTICE:
Position yourself to play your clarinet. Play through each line of the scale repeatedly until you feel confident with your
ability to reach and maintain a steady note, as well as your ability to move your fingers comfortably from one note to
another. If necessary, refer to the Fingering Chart on the previous page.

94

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 5 SELF-ASSESSMENT
Write your answers in the spaces provided.
1.) How many flats and/or sharps are in the B- Flat Major Scale for clarinet?

2.) How many flats and/or sharps are in the E- Flat Major scale for clarinet?

3.) What are the eight ascending notes in the B -Flat Major Scale for clarinet?

4.) What are the eight ascending notes in the E-Flat Major Scale for clarinet?

95

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 5 SELF -ASSESSMENT (CONTINUED)

Fill in the circles of the diagrams to correspond with the answers.

5.) Draw the whole notes in each staff box for each of the notes in the ascending B- Flat Major Scale for clarinet.
Fill in the circles that correspond with the fingerings for each note.

96

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 5 SELF-ASSESSMENT (CONTINUED)

Fill in the circles of the diagrams to correspond with the answers.

6.) Draw the whole notes in each staff box for each of the notes in the ascending E- Flat Major Scale for clarinet.
Fill in the circles that correspond with the fingerings for each note.

97

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 5 SELF-ASSESSMENT (ANSWER KEY)
Write your answers in the spaces provided.
1.) How man flats and/or sharps are in the B- Flat Major Scale for clarinet?
(See “The B-Flat Major Scale”)
NONE

2.) How many flats and/or sharps are in the E- Flat Major scale for clarinet?
(See “The E-Flat Major Scale”)

ONE. The E -Flat Major Scale For Clarinet has a B-flat.

3.) What are the eight ascending notes in the B -Flat Major Scale for clarinet?
(See “The B-Flat Major Scale”)
Mid: C, D, E, F, G, A, B, High: C
4.) What are the eight ascending notes in the E-Flat Major Scale for clarinet?
(See “The E-Flat Major Scale”)
Low: F, G, A, B- flat, Mid: C, D, E, F
98

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 5 SELF-ASSESSMENT (ANSWER KEY)

Fill in the circles of the diagrams to correspond with the answers.

5.) Draw the whole notes in each staff box for each of the notes in the ascending B- Flat Major Scale for clarinet.
Fill in the circles that correspond with the fingerings for each note.
(See “The B-Flat Major Scale”)

99

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 5 SELF-ASSESSMENT (ANSWER KEY)

Fill in the circles of the diagrams to correspond with the answers.

6.) Draw the whole notes in each staff box for each of the notes in the ascending E- Flat Major Scale for clarinet.
Fill in the circles that correspond with the fingerings for each note.

(See “The E- Flat Major Scale”)

100
If you have answered each question
correctly, then congratulations! You
are now ready for Chapter 6. If not,
then please review the material in
the previous chapter and retake the
Self Assessment before moving on.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PLAYING SONGS
After completing this chapter, you will
be able to:
 Play Songs
-
Play “Twinkle Twinkle Little Star”
-
Play “Mary Had a Little Lamb”
-
Play “Happy Birthday”

101

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PLAYING SONGS

BEFORE YOU BEGIN…

You’ve done it! So far, you have mastered the
preliminary tasks required in order for you to play
songs on your clarinet. Although you should be very
proud of yourself for having made it to this point, there
are things that you can do to improve the quality of
your musical performance. In this chapter, we will take
a look at three songs for you to work on to be able to
play for your family and friends.

NEVER play your clarinet with food or
candy in your mouth! This will not only
cause a problem with your playing, but
could also be a choking hazard!

TWINKLE TWINKLE LITTLE STAR

The first song that we will look at is “Twinkle Twinkle
Little Star.” Notice that there are no flats or sharps in the
key signature, and none throughout the song. The lack of
a time signature lets you know that this is to be played in
Common Time, or 4/4.

PRACTICE:

Position yourself to play your clarinet using the steps you
learned in Chapter 2. You should practice playing the song
on the next page several times until you feel confident
with it.

102
After completing this section, you
will be able to:
 Play “Twinkle Twinkle Little Star”
 Play “Mary Had a Little Lamb”
 Play “Happy Birthday”

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

103

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

MARY HAD A LITTLE LAMB

Next let us look at the song “Mary Had
a Little Lamb.” Notice that it contains
an F-Sharp in the Key Signature. When
beginning to play an instrument, it is a
good idea to notice what notes are flat
or sharp by looking first at the key
signature.
Mark or circle these notes throughout the song so that
you may recognize them while you play.

104
TIPS FOR DEALING WITH PERFORMANCE ANXIETY:
It is not uncommon to experience “jitters” when
performing in front of other people. In fact, some of
the most experienced musicians suffer from some sort
of anxiety or nervousness before every performance.
Here are a couple of ways you can combat your own
stage fright:
 Before rushing into a performance, take a
moment to take a few deep breaths to create a
calm feeling within you.
 Focus on the music you are playing instead of
on the people around you.
 Don’t be afraid to make mistakes; your
audience is not keeping count. Remember that
you are your own worst critic.
 PRACTICE, PRACTICE, PRACTICE! The more you
practice a piece, the more confident you will
feel about it. That confidence will show when
you are playing for an audience.
“Mary Had a Little Lamb” was based on a girl named Mary Sawyer from Sterling,
Massachusetts. Mary kept a pet lamb and
brought it to school one day at the su
ggestion
of her brother, causing a commotion
throughout the school and inspiring this classi
children’s song.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

105
PRACTICE:
Position yourself to
play your clarinet using
the steps you learned
in Chapter 2. You
should practice playing
this song several times
until you feel confident
with it.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

HAPPY BIRTHDAY

The third song that you will work on is “Happy Birthday.”
There are two things to notice with this song. First of all,
it has an F-sharp in the key signature. Feel free to circle
or mark all F notes in the piece so that you will remember
to play them as F-sharp instead of F-natural.

The second thing to notice is that the time signature here
states that the song is in 3/4 time. This will not affect
your playing. As you learned in Chapter 3, the top
number in the time signature tells you how many beats
are in each measure. In 3/4 time, there are three beats
written in each measure. Since the bottom number,
which indicates which note receives one beat, is still 4,
the note values are the same as in the 4/4 time signature.

106
TIPS FOR DEALING WITH PLAYING MISTAKES:
It’s inevitable. Mistakes are going to happen from time
to time. Instead of stressing out about them, follow
these techniques for dealing with performance
mistakes as they happen:
 Just keep playing. Never stop and start again.
Ninety-nine percent of the time your audience
does not realize that you made a mistake, but
they will notice if you stop and start again.
 Focus on the music you are playing instead of on
the people around you.
 Don’t let one mistake upset you. Keep a calm
head. If you let one mistake bother you, you will
be more likely to keep making mistakes as you
play through a song.
 PRACTICE, PRACTICE, PRACTICE! The more you
practice a piece, the less are your chances of
making mistakes during a performance.
Marilyn Monroe’s performance of “Happy Birthday” to US president John F. Kennedy in May, 1962 is the
most famous rendition of the song ever.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

PRACTICE:
Position yourself to play your clarinet using the steps you learned in Chapter 2. You
should practice playing this song several times until you feel confident with it.

107

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

Now you have three songs to impress your family and
friends with. These are not the only songs for clarinet,
however. Music stores and the internet are great
sources of new sheet music for all levels of clarinet
play. While the newer, more popular songs can be
relatively expensive, there are hundreds of clarinet
songs in public domain. This means that they are free
for you to use and distribute.

108
Resource websites for more sheet
music for your clarinet:

 www.8notes.com

 www.sheetmusicplus.com

 www.music-scores.com

 www.clarinetspot.com

 www.clarinetinstitute.com

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 6 SELF-ASSESSMENT
Fill in the diagram with the corresponding answers. Do not refer to the chapter.
1.) Here is a measure from “Twinkle Twinkle Little Star.” Label each note on the lines provided, then fill in the circles
on the fingering diagrams to match each note in the measure.

__ __ __ __

109

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 6 SELF-ASSESSMENT (CONTINUED)
Fill in the diagram with the corresponding answers. Do not refer to the chapter.
2.) Here is a measure from “Mary Had a Little Lamb.” Label each note on the lines provided. F ill in the circles on the
fingering diagrams to match each note in the measure.

__ __ __ __

110

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 6 SELF-ASSESSMENT (CONTINUED)
Fill in the diagram with the corresponding answers. Do not refer to the chapter.
3.) Here is a measure from “Happy Birthday.” Label each note on the lines provided. Fill in the circles on the fingering
diagrams to match each note in the measure.

__ __ __

111

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 6 SELF-ASSESSMENT (ANSWER KEY)
Fill in the diagram with the corresponding answers. Do not refer to the chapter.
1.) Here is a measure from “Twinkle Twinkle Little Star.” Label each note on the lines provided, then fill in the circles
on the fingering diagrams to match each note in the measure. (See “ Twinkle Twinkle Little Star”)

112

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 6 SELF-ASSESSMENT (ANSWER KEY)
Fill in the diagram with the corresponding answers. Do not refer to the chapter.
2.) Here is a measure from “Mary Had a Little Lamb.” Label each note on the lines provided. Fill in the circles on the
fingering diagrams to match each note in the measure. (See “Mary Had a Little Lamb”)

113

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 6 SELF-ASSESSMENT (ANSWER KEY)
Fill in the diagram with the corresponding answers. Do not refer to the chapter.
3.) Here is a measure from “Happy Birthday.” Label each note on the lines provided, then fill in the circles on the
fingering diagrams to match each note in the measure. (See “Happy Birthday”)

114
If you have answered each question
correctly, then congratulations! You
are now ready for Chapter 7. If not,
then please review the material in
the previous chapter and retake the
Self Assessment before moving on.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

MAINTAINING THE CLARINET

After completing this chapter, you will
be able to:
 Maintain the clarinet
-
Disassemble the Clarinet
-
Clean the Clarinet
-
Inspect Keys, Pads, Springs and Levers
-
Grease the Cork
- Store the Clarinet
115

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

MAITAINING THE CLARINET

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

MAINTAINING THE
CLARINET

BEFORE YOU BEGIN…

The ability to play beautiful music on the clarinet depends
not only on your talent and skill, but also on the reliability
of your clarinet. You may develop and hone the technique
and ability required to play very difficult pieces of music,
but will not be able to do so if your instrument fails you.
Conversely, a faulty clarinet will not allow you to develop
a good technique. Maintaining the clarinet will not only
elongate the useful life of the instrument, but also provide
you with an instrument that has strong intonation, stable
pitch, and fine tone characteristics throughout its
registers.

After completing this section, you
will be able to:

Disassemble the clarinet

Clean the clarinet
 Inspect keys, pads, springs
and levers
 Grease the cork
 Store the clarinet
116

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

DISASSEMBLING THE CLARINET

The clarinet is disassembled in a single phase, unlike the
assembly that occurred in two phases.

While disassembling the clarinet,
remember the following things:

 NEVER forcefully separate the
parts!
 AVOID grasping the keywork.
 NEVER rotate the parts in a
sporadic manner. This WILL
damage the cork!

To disassemble the clarinet, follow the steps listed below:

1.) Loosen and remove the ligature.

2.) Remove the Reed From the Mouthpiece.

117

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

3.) Separate the Mouthpiece from the Barrel by
smoothly rotating the Mouthpiece while
pulling the parts apart.

4.) Separate the Barrel from the Upper Joint by
smoothly rotating the Barrel while pulling the
parts apart.

5.) Separate the Lower Joint from the Upper Joint by
smoothly rotating the Lower Joint while pulling the
parts apart.

6.) Separate the Bell from the Lower Joint by smoothly
rotating the Bell while pulling the parts apart.

118

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

Now that you know a bit more about the disassembly
procedure, you have the information needed to go
out and disassemble your clarinet into its individual
parts.

STEPS TO DISASSEMBLE THE CLARINET:
1. Remove the ligature
2. Remove the Reed
3. Separate the Mouthpiece from the
Barrel
4. Separate Barrel from the Upper
Joint.
5. Separate Upper Joint from the
Lower Joint
6. Separate Lower Joint from the Bell
119

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CLEANING THE CLARINET

Each individual part of the clarinet must be cleaned after
every use of the instrument. The clarinet must be cleaned
in order to prevent the breakdown of sugars from your
saliva, which when trapped in the clarinet, eat into the
clarinet body causing a change in the sound. Cleaning the
clarinet also prevents the growth of bacteria.

While cleaning the clarinet, remember
the following things:

 ALWAYS use soft, absorbent
material such as felt!
 ALWAYS clean each individual
part.
 AVOID grasping the keywork.

To clean the clarinet, it is necessary to do the following:

1.) Drop the weighted, string attached to the end of
the felt cloth into and through the bore of the
individual part.

2.) Slowly pull the string, such that the felt cloth
runs through the entire length of the individual
part.

STEPS TO CLEAN THE CLARINET:
• Drop weighted string through the
individual part.
• Pull felt cloth through the individual
part.
120

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

INSPECTING KEYS, PADS, SPRINGS AND LEAVES

Each individual part of the clarinet must be inspected after
it has been cleaned. The keys, pads, springs and levers on
each part must be inspected for wear and tear or
malfunctions. The parts which do not have keys, pads,
springs and levers must also be inspected for broken
pieces.

While inspecting the clarinet, remember
the following things:

 ALWAYS thoroughly inspect each
individual part.
 AVOID grasping the keywork.

Inspecting the clarinet involves the following steps:

1.) Inspect the keys on each individual part.
When the key is pressed down, its tone hole
should be completely open with blockages.

2.) Inspect the pads on each individual part.
When the pad is closed, it should completely
cover the tone hole.

121

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

3.) Inspect the springs on each individual part. The
spring should be able to always return its
associated key to its original position.

4.) Inspect the levers on each individual part.
The lever should move up and down without
any impedance, and always return to its
original position.

STEPS TO INSPECTING THE CLARINET:
• Inspect keys on each individual part
• Inspect pads on each individual part
• Inspect springs on each individual part
• Inspect levers on each individual part
122

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

GREASING THE CORK

The cork fitting on each individual part of the clarinet must
be greased after each use of the instrument. Cork naturally
tends to lose moisture, become brittle, and eventually
break. Loose or broken cork ends will not allow the proper
assembly of the instrument. Greasing the cork will prevent
the cork from breaking.

While greasing the cork, remember the
following things:

 ALWAYS apply the cork grease to
EVERY cork fitting.
 DO NOT apply excessive cork
grease.
 AVOID grasping the keywork.

To grease the cork, you should:

1.) Remove cork grease from clarinet case.

2.) Apply the cork grease over the surface of the cork
fitting, in a smooth motion.

STEPS TO GREASING THE CORK:
• Gather cork grease
• Apply cork grease to cork fitting
123

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

STORING THE CLARINET

The clarinet must be stored in a cool, dry environment.
Furthermore, to prevent damage to any of the clarinet’s
parts, the instrument should be stored in a sturdy
container. The clarinet case is sturdy and provides the
ideal environment for storing your in strument.

While storing the clarinet, remember
the following things:
 ALWAYS place individual parts in
their correct place within the
clarinet case.
 ALWAYS keep the clarinet case in
a safe place.
 AVOID grasping the keywork.

When storing your clarinet, it is important to:

1.) Gather the Bell, Lower Joint, Upper Joint, Barrel,
Mouthpiece, Ligature and Reed.

2.) Place the individual parts in their respective
compartments within the clarinet case.

3.) Close the clarinet case, and store in a safe place.

STEPS TO STORING THE CLARINET:
• Gather all individual parts
• Place parts in clarinet case
• Close clarinet case and store
124

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 7 SELF-ASSESSMENT
Write your answer in the space provided using a complete sentence. Do not refer to the chapter.
1.) What are the five things you must do in order to maintain your clarinet?

2.) What are the six steps required when disassembling a clarinet?

3.) What are two reasons why you must always clean your clarinet after playing?

125

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 7 SELF-ASSESSMENT (CONTINUED)
4.) What are the four things you must check for when inspecting your clarinet?

5.) Why should you always grease the cork of your clarinet after playing?

6.) How must you store your clarinet to prevent damage to the instrument?

126

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 7 SELF-ASSESSMENT (ANSWER KEY)
Write your answer in the space provided using a complete sentence. Do not refer to the chapter.
1.) What are the five things you must do in order to maintain your clarinet? (See “Maintaining the Clarinet”)
 Disassemble the clarinet.
 Clean the clarinet.
 Inspect keys, pads, springs, and levers.
 Grease the cork.
 Store the clarinet in a cool, dry place.

2.) What are the six steps required when disassembling a clarinet? (See “Disassembling the Clarinet”)

 Remove the ligature.
 Remove the Reed.
 Separate the Mouthpiece from the Barrel.
 Separate Barrel from the Upper Joint.
 Separate Upper Joint from the Lower Joint.
 Separate Lower Joint from the Bell.

3.) What are two reasons why you must always clean your clarinet after playing? (See “Cleaning the Clarinet”)
 Sugars from your saliva can break down the clarinet, causing a change in the sound.
 To prevent the growth of bacteria.
127

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 7 SELF-ASSESSMENT (ANSWER KEY)
4.) What are the four things you must check for when inspecting your clarinet? (See “Inspecting Keys, Pads, Springs,
and Levers”)
 Broken or stuck keys.
 Missing or loose pads.
 Missing, loose or stuck springs.
 Broken or stuck levers.
5.) Why should you always grease the cork of your clarinet after playing? (See “Greasing the Cork”)
 To prevent the cork from drying out and breaking off the instrument.
6.) How must you store your clarinet to prevent damage to the instrument? (See “Storing the Clarinet”)
 The clarinet must be disassembled and stored in its case in a cool, dry place.

128
If you have answered each question
correctly, then congratulations! You
are now ready for the Summary. If
not, then please review the material
in the previous chapter and retake the
Self Assessment before moving on.

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

SUMMARY

129
After completing this chapter, you will
be:

 A Clarinetist

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

SUMMARY

CONGRATULATIONS! You have successfully
completed the “Playing The Clarinet” Instructional Manual.

To ensure that you have a firm hold on the materials
covered, please review the summary of the chapters that
follows. This review will provide you with an opportunity
to reflect on the materials covered in this instructional
manual, and further reinforce the knowledge and skills
that you have acquired with the completion of this
instructional manual.

CHAPTER 1
In Chapter 1, you learned how to choose a clarinet, and
how to identify the parts of the clarinet. You learned how
to distinguish between wooden and plastic clarinets and
you learned how to distinguish between Boehm System
and Albert System clarinets. You also learned that the
clarinet is made up of six individual parts- the Bell, the
Lower Joint, the Upper Joint, the Barrel, the Mouthpiece
and the Reed- and you learned how to identify each part.
CHAPTER 2
In Chapter 2, you learned how to assemble the clarinet,
how to position yourself to play the clarinet, and how to
produce sound with the clarinet. You learned that the
clarinet is assembled in two phases- first, the Mouthpiece
and the Reed is assembled, and second, the Bell, the
Lower Joint, the Upper Joint and the Barrel are
assembled. You then learned how to grasp the clarinet,
and how to either sit or stand when playing the clarinet.
Finally, you learned how to form the embouchure, how to
blow into the clarinet and how to tongue the Reed.

CHAPTER 3
In Chapter 3, you learned how to read music. You learned
to identify the parts of the staff, including the treble clef
and the time signature. You learned to identify note and
rest values, including wholes, halves, quarters and
eighths. You learned to name notes on the staff, from Low
F to High E. You learned to identify naturals, flats and
sharps. You also learned to identify slurs and staccatos,
identify repeats, and finally, the tempo and dynamics.

130

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

CHAPTER 4
In Chapter 4, you learned how to finger notes on the
clarinet. You learned how to finger notes using only your
left hand. You learned how to finger notes using your left
and right hands. You learned how to finger left and right
hand notes in conjunction with the register key. And you
also learned how to finger flats and sharps.

CHAPTER 5
In Chapter 5, you learned how to play scales. You learned
to play the B-Flat Major scale for the clarinet, and you
learned to play the E- Flat Major scale for the clarinet.
You also learned how the clarinet is a transpose
instrument.

CHAPTER 6
In Chapter 6, you learned how to perform three different
songs on the clarinet. You learned to perform “Mary Had
A Little Lamb”, to perform “Twinkle Twinkle Little Star”,
and to perform “Happy Birthday”.
CHAPTER 7
In Chapter 7, you learned how to maintain the clarinet. You
learned how to disassemble the clarinet. You learned how
to clean the clarinet, and to inspect its keys, pads, springs
and levers. You also learned how to grease the cork on the
clarinet, and finally, you learned how to store the clarinet.

QUICK REFERENCE GUIDE
You have also been provided with a QUICK REFERENCE
GUIDE, which includes the fingering scheme of each note
from Low F to High E.

By completing the “Playing The Clarinet”
Instructional Manual, you are now able to play
scales and songs, as well as assemble, hold and
maintain the instrument, operate its keys, levers
and holes, and read musical notation. Feel free to
go back at any time to review the material. Now
you may begin to play for an audience, using this
manual as a reference.

CONGRATULATIONS!

131

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

QUICK REFERENCE – FINGERING GUIDE

132

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

QUICK REFERENCE – FINGERING GUIDE

133

Intro Ch.1 Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Summary

QUICK REFERENCE – FINGERING GUIDE

134

Playing the Clarinet ( PDFDrive ) 123457

About This Presentation

Slide Content

Tags

Categories

Download

Quick Actions

Statistics

Related Slideshows

Playing the Clarinet ( PDFDrive ) 123457

About This Presentation

Slide Content

Slide 1

Slide 2

Slide 3

Slide 4

Slide 5

Slide 6

Slide 7

Slide 8

Slide 9

Slide 10

Slide 11

Slide 12

Slide 13

Slide 14

Slide 15

Slide 16

Slide 17

Slide 18

Slide 19

Slide 20

Slide 21

Slide 22

Slide 23

Slide 24

Slide 25

Slide 26

Slide 27

Slide 28

Slide 29

Slide 30

Slide 31

Slide 32

Slide 33

Slide 34

Slide 35

Slide 36

Slide 37

Slide 38

Slide 39

Slide 40

Slide 41

Slide 42

Slide 43

Slide 44

Slide 45

Slide 46

Slide 47

Slide 48

Slide 49

Slide 50

Slide 51

Slide 52

Slide 53

Slide 54

Slide 55

Slide 56

Slide 57

Slide 58

Slide 59

Slide 60

Slide 61

Slide 62

Slide 63

Slide 64

Slide 65

Slide 66

Slide 67

Slide 68

Slide 69

Slide 70

Slide 71

Slide 72

Slide 73

Slide 74

Slide 75

Slide 76

Slide 77