Jackie Bretz 1 All about the Clarinet Ms. Jackie Bretz Ninth grade

2 The Clarinet Family There are many other types of clarinets other than the Bb. Each is a different size and played in a different key. There are many other types of clarinets other than the Bb. Each is a different size and played in a different key. Eb sopranominor 6th higher Bb sopranomajor 2nd lower A sopranominor 3rd lower Eb altomajor 6th lower Bb bass8ve+major 2nd lower Eb contra alto8ve+major 6th lower Bb contra bass2 8ve+major 2nd lower More photos of the family

Jackie Bretz3 Parts of the clarinet ligature reed mouthpiece barrel upper joint lower joint keys bell

Jackie Bretz 4 The reed There are many different types of reeds made by different companies. No two reed are exactly the same, and one must spend several years to find which type works with their mouthpiece and embouchure, and it may even take hours to find which reeds in a box work as well. The reed needs to retain water in order to work, and must always be soaked before and after play. Saliva eats away at the reed and soaking before and after eliminates this problem Heel Tip Centerpoint Shoulder Heart Beginning of the cut Stock----- More about reeds

Jackie Bretz5 Posture Head In natural, forward position: bring the instrument to you, don’t go to the instrument. Shoulders Up and slightly back, but relaxed. Elbows Free from the body, but relaxed. Body Erect without being uncomfortable. Instrument Centered on the body: degrees. Chair Turned to the music stand so bell does not move across legs.

Jackie Bretz6 Assembly Put the reed in water Put the reed in water Cork grease all of the corks Cork grease all of the corks Properly assemble the lower joint to the bell, and the upper joint to the lower Properly assemble the lower joint to the bell, and the upper joint to the lower Hold with the right, assemble with the left Hold with the right, assemble with the left Assemble mouthpiece to barrel, and then to clarinet Assemble mouthpiece to barrel, and then to clarinet Ligature and reed properly placed on mouthpiece Ligature and reed properly placed on mouthpiece

Jackie Bretz7 Disassembly and Cleaning Put the reed in water. Put the reed in water. Mouthpiece, barrel, and ligature removed and set aside. Mouthpiece, barrel, and ligature removed and set aside. Swab lower sections, holding the lowest. Swab lower sections, holding the lowest. Upper and lower sections and bell removed and tenon areas wiped. Upper and lower sections and bell removed and tenon areas wiped. Bell section tenon receiver wiped. Bell section tenon receiver wiped. Mouthpiece and barrel swabbed. Mouthpiece and barrel swabbed. Tenon areas of mouthpiece and barrel wiped. Tenon areas of mouthpiece and barrel wiped. Body and mechanisms wiped with a clean, dry cloth. Body and mechanisms wiped with a clean, dry cloth.

Jackie Bretz8 Embouchure Mouthpiece in mouth: lower lip is placed at or in front of the mouthpiece-reed fulcrum. Mouthpiece in mouth: lower lip is placed at or in front of the mouthpiece-reed fulcrum. Top teeth touch the top of the mouthpiece approximately ½ inch inn from the tip. Top teeth touch the top of the mouthpiece approximately ½ inch inn from the tip. The middle of the red of the lower lip is at the front edge of the lower teeth. The reed vibration takes place on the red and partially the white of the lower lip. The middle of the red of the lower lip is at the front edge of the lower teeth. The reed vibration takes place on the red and partially the white of the lower lip. After the mouthpiece has been placed inside the mouth, bring the corners forward to the sides of the mouthpiece to seal about the reed-mouthpiece combination. After the mouthpiece has been placed inside the mouth, bring the corners forward to the sides of the mouthpiece to seal about the reed-mouthpiece combination. You must be able to “point” your chin to flatten and firm the facial mask to provide a firm, but flexible table for reed vibration. You must be able to “point” your chin to flatten and firm the facial mask to provide a firm, but flexible table for reed vibration.

Jackie Bretz9 Hand position and fingerings  Right thumb Middle of thumb rest at the cuticle.  Left thumb Pad on ring, diagonal across clarinet. Side of tip touching the register key.  Fingers Right and left little fingers touch guide keys. Thumbs and forefingers form “U” shape. Finger pads cover tone holes. Index finger of left hand touches A and Ab keys. Index finger of right hand touches Eb/Bb key.  Register key Opened by breaking thumb joint.  Right hand side keys Operated by side of index finger with minimal movement away from the guide position in the other fingers.  Wrists Left wrist is flat. Right is slightly broken. Clarinet Fingering Chart

Jackie Bretz10 Tuning Reed  Hard is sharp, soft is flat. Mouthpiece in Mouth  Too little is sharp, too much is flat. Clarinet/body angle  Too close is sharp, too far out is flat. Mouthpiece  Close tip opening is sharp, open tip opening is flat. Dynamics  Diminuendo is sharp, crescendo is flat. Voicing  Raising position of tongue in mouth is sharp, lowering is flat.

Jackie Bretz11 Playing ranges of the clarinet

Jackie Bretz12 Relating second and third registers to the first/fundamental register 8Major 2 nd /octave 7Minor 3 rd (flat) 6Minor 3 rd 5Major 3 rd 4Fourth/Octave 3Fifth 2Octave 1Fundamental The second and third registers are called the Clarion and Altissimo/High registers. The first register is called the Chalumeau. The clarinet produces odd partials only.

Jackie Bretz13 Reading music  Being able to read music is a very important factor in playing an instrument.  Now let’s play a game to help with note memorization!  note pair free flash game note pair free flash game note pair free flash game