Post on 31-Aug-2018
BHS BAND WARMUP PACKET — BASS CLARINET
Fingering Chart I
Intonation Tendencies 2
Long-tones 4
Circle of Fifths S
Articulation 6
Flexibility/Technique 8
Scales 13
Chorales 18
“Need to Know” 24
Theory 25
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chTendes&AcIustmertsClarinet
(Notes not addressed acegenerally acceptable)
LTI, I/2H 1,2,35 and RP4
LTI, 1,2,4, 5, 6, RP4
LTI, 2,4,5, RP4or LTI, l,4,RP4or LTI,RP4
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Tendency F F F F F S
Adjnslment No 1,2, 3,4 & RT Use I & 4 none LTI & SI Add 4, 5, 6Fingering
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Use 3, 4, 5, 6 Use A & S4 or None Use A & S4 None half hole 1and RPI 3, 4 and RPI or 1 & 4 Possible shading
of left hand
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half hole I LTI, 1,2, 3, LP44, 5, 6
page 15
Clarinet
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LP4
LP3
page 14
The Tuning ProcessWoodwinds
Ejj.ancE1ccQiQ.Si Play diatonically from top line F up to Bb three or four times. Tune the Bb 8 cents
sharp (Note: Bb on piccolo is not always the most centered note. If you find this to be tjij, tune to top line
F playing up from 3rd space C three or four times. Again tune approximately 8 cents sharp.) Be aware that
many piccolo and flute players tune with more air than needed. This pushes the pitch up considerably. Play
with what Emory Remmington called ‘a conversational breath.” This will give you a more accurate reading.
Be aware of the head joint and its adjustment, as this has a severe influence on the pitch. (Note: Bb above
the staff should be well centered. Use frequent checks to see if this note stays constant.)
Oboe: Being aware of the problems that the reed and instrument present, itis still imperative that we become
consistent in our approach to tuning. Play diatonically from 1st space F up to 3rd line Bb three or four times.
The Bb should be slightly sharp. Then play diatonically from 3rd line Bb up to F three or four times. The
F, especially the fork fingering, will be slightiy sharp. If you use the regular fingering for top line F, the pitch
will tend to be flat. (Note: A reed of approx. 70mm is recommended to achieve the desired pitch without
squeezing.) Constantly check 2nd space A and A above the staff as this is the most centered note on the horn.
Bassoon: The instrument, reed and bocal have a great deal to do with the pitch of this instrument. Check
the 2nd line Bb and 4th line F, playing to both of them diatonically from below three or four times. If these
notes are not close to the required pitch immediately work with the bocals (size 00 to 4 from small to large
or sharp to flat) and the reed lengths. The reed should be 2-1/8” overali and a #2 hocal on a good instrument
should work best. Also be aware of the distance the reed fits on to the bocal. Too much or too little will cause
the instrument to play far enough out of tune so that accurate tuning will be impossible. It is important to
note that choosing a qualified student, instrument, reed and bocal will tend to make the pitch problems
less frustrating for you and your double reed players.
Clarinei: Check 2nd line G and adjust the barrel (approx. 1/8 inch). Then check low C. If it is sharp, adjust
the middlejoint. Finally check 3rd space C. If this note is also sharp, adjust the bell. (Note: If this adjustment
further flattens low E then disregard.) Once this is completed, play up to each note, diatonically, three or
four times to insure consistency. (Note: Most student clarinets are built sharp. This is why it is imperative
to secure an accurate reading on 2nd line G first.)
Aii and Ban Sax: First check 2nd line G. It should be very close to the centered pitch. Second check
G above the staff. This note should register slightly sharp. Play up to these notes diatonically, from D, three
or four times. (Note: Top line F sharp is the best note to check for zero tolerance.)
Ini..Sgx: Follow the same procedure as alto sax. Second line G should be almost perfect and G above
the staff should be sharp. (Note: 3rd line B is the best note to check for zero tolerance.)
It is again noted that the quality of the instrument, reed, ligature and mouthpiece play a very
Important part in the successful development of acceptable intonation.
page 5
naiuw Hi DäHU LaHuafu vv aniiups
Bass Clarinet in BLong Tones
_____
[iflat Scparate
iT
hing! Bflat Overlap
___
---—--
IIPlayer I P1a er 2 Player 1 Player 2 Player 3
6 j F Concert Paynter
___ - i -
13 B-flat Paynter (Descending)
_ -
H j H - r rr r19 D Paynter (Descending)
4 r r r22 F Paynter (Ascending)
4 F25 Paynter (Skips)
4 ‘F F
Appendix
C G
(a minor)F
(d minor)
(e minor)
B6
(g minor)
E1
(C minor)
Circle
D
(b minor)
A
(‘f sharp minor)
E
I(c sharp minor)
of
AFifths
L_’’ I(f minor) D
(bflat minor)
G
1(e flat minor)
B
-i(gsharp minor)
\ty32CL
33 Legato StaccatofAA
39 Triplets 1 & 3A I 3 I I 3 I I 3
Dotted Eighth Sixteenth
41 Double Tonguing (“ta-ka” or “da-ga”)
43
Triple Tonguing (“ta-ka-ta” or ‘da-ga-da” OR ta-ta-ka or ‘da-da-ga”)4.
4
F 3 I r 3 I I 3 —i I 3 I
47
48 [Add a note (etc. up & down scale)
-- -
Articulation29 I Lato ( dec ) Staccato dit ) Accents ( dab ) Marca ( daht )
—
_________ _______
- L- tj
etc. Eight and 2 Sixtcenths
36 2 Sixteenths and an eighth
37 Sixteenth Eighth Sixteenth Triplets
4
AppHcatofl exercises trom MOUIIK auver UU/) re orilileLe
Saxophonist Glenmoore PA. Northeastern Music Pubisners)tpoken Exercises
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15 Notes - All Tongued
4[ Notes All Slurred
49 [5 Notes Slur 2. Tongue 2
B1? Notes-.Tongue2]i’
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21 L6/8 Exercise 1]
425 [/8 Exercise 2] similar asc. & desc.
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BAND INFO — “NEED TO KNOW”
Strategies for SMART practice:
1. Play rhythms on one pitch first if difficult
2. Look for patterns
3. Play in a comfortable range first (down an octave?)
4. Isolate one challenge at a time
5. Work slow to fast (use a metronome)
6. Build from the middle
Logical Steps to Effective Intonation
1. Listen for “beats”
2. Make an adjustment; if beats get faster, try the opposite until the beats slow and
eventually disappear.
3. If you have to pinch to make the beats stop, make your instrument shorter
4. If you have to relax to make the beats stop, make your instrument longer
5. When you hear no beats while playing with your normal embouchure you are in tune!
Ways and Steps to Listening
1. If you hear yourself sticking out of the band’s sound you may be playing too loud. This is
BALANCE. See below for info on the Pyramid of Sound.
2. If you adjust your volume and still stick out of the band’s sound, adjust your posture,
embouchure, and breath support to make your tone mesh better. This is BLEND. Think
of putting your sound “inside” other voices...e.g. Alto’s try to fit “inside” the horn sound;
Trumpets try to fit “inside” the tuba sound.
3. If you adjust your volume and tone and still stick out of the band’s sound, you may be
out of tune. This is INTONATION (see above).
4. Always listen down to the lowest instrument, to the people on either side of you, and to
yourself.
The Pyramid of Sound (BALANCE)
1. Higher voices are more easily heard than low voices; therefore to create a more
balanced sound, adjust all dynamics levels as follows.
2. Low voices (tuba, low brass, tenor sax) should be strongest...play at or above the written
dynamic level
3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the
written dynamic level
4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below
the written dynamic level
C major scale (half steps are between scale degrees
3 - 4 and 7 - 8).
C natural minor scale (lower the 3rd, 6th, and
7th scale degrees a half step).
Intervals, W 11 Tv w 1! W
ii/\rn/\C DE1’F GA1’ B1’C
Scale Degrees 1 2 3 4 5 (, 7 8
Augmented 5th
.) .
;LcScale and Chord Related Theory
scale is a series of single notes which ascend or descend in a stepwise !nanfl within the range of an octave.
lecause scales are arranged in a stepwise manner, the note names will always be in 41 habetical order.
he notes within scales have a specific whole step/half step
ntervalic jtifn,hi with each other.
Intervals: W W H w W w H
U II II
CDEFGABCScale Degrees: I 2 3 4
/‘5 6 7 8
Tonic Dominant Leading Tone
C harmonic minor scale (lower the 3rd and
6th scale degrees a half step).
w H w w H w * ii HC’
_
C DE1’F GA1’ BCScale Degrees 1 2 3 4 5 6 7 8
C melodic minor scale (ascending lower the 3rd and descending lower the 7th, 6th,
and 3rd scale degrees a half step).
Intervals, W ‘1 W W TV W H w w 11 W W ‘1 v
IIf\-1r--/\rn/\rn7\iiC D E1’ F G A B C B1’ A1’ G F E1’ D C
Scale Decrees, 1 2 3 4 5 6 7 8 7 6 S 4 3 2 1
Augmented & Diminished
Intervals from C
Augmented 4th(tritone)
A
Intervals of the C major scale:
Major 2nd Major 3rd Perfect 4th Perfect 5th
.3 -4’
Diminished 5th(tritone)
Major 6th Major 7th Perfect Octave
—
--
e) •
Minor Intervals from C
minor 2nd
minor 3rd
_____
minor 6th
minor 7th
C major triad (three note chord) in root position and inversions.
Root Position First Inversion Second Inversion
Essential Vocabulary:
From Bottom: From Bottom: From Bottom:
root-third-fifth third-fifth-root fifth-root-third
Basic chord types constructed from C:
Major Minorlower third
l)itninishedlower third & filth
Interval - the distance between two notes
Half Step - the closest interval between two notes
Whole Step - an interval of two half steps Augmented Sus 4
raise fifth fourth replaces third
Third - the distance of two adjacent lines or two adjacent spaces“ EEHzzHj
Scale Degree - a note’s classification according to its position in the scaleE -
Tonic - the first note of a scale, the “key-note” from which the scale takes its name
Dominant - the fifth scale degree, chords built on this note are “dominant” and normally resolve to the tonic
leading Tone - the seventh scale degree, it is one half step below tonic and its tendency is to “lead” or rise to the tonic
W3 2 FL