Teaching Clarinet Fundamentals
Citation: Winkle, Carola K. “Teaching Clarinet Fundamentals.” Instrumentalist, Aug2012, Vol. 67 Issue 1, p24-30, 4p
Article Title: Teaching Clarinet Fundamentals
Author: Carola K. Winkle
Instrument: Clarinet
Magazine or Journal Title: Instrumentalist
Summary:
I. Three most important fundamentals: tone, technique, and tongue
II. Good tone
1. Good breathing is crucial
2. Posture affects tone quality and breath
3. Clarinet to center of body, even if wearing a dress or shirt (for girls)
4. Keeping head back, not tilted down
5. Good posture will help with tonguing as well
6. Angle of clarinet: arms at natural length, 45 degree angle
III. Embouchure
1. Single is most common, double also used
2. Corners are firm, drawn back
3. Not as round as other instruments, flat chin
Article Title: Teaching Clarinet Fundamentals
Author: Carola K. Winkle
Instrument: Clarinet
Magazine or Journal Title: Instrumentalist
Summary:
I. Three most important fundamentals: tone, technique, and tongue
II. Good tone
1. Good breathing is crucial
2. Posture affects tone quality and breath
3. Clarinet to center of body, even if wearing a dress or shirt (for girls)
4. Keeping head back, not tilted down
5. Good posture will help with tonguing as well
6. Angle of clarinet: arms at natural length, 45 degree angle
III. Embouchure
1. Single is most common, double also used
2. Corners are firm, drawn back
3. Not as round as other instruments, flat chin
IV. Studies
1. After working through breathing, posture, angle, and embouchure
2. Long tone exercises
3. 5 Minutes every day
V. Technique
1.
Clarinet Pedagogy
Citation: Topfer, Stanley. "UPFRONT: Clarinet Pedagogy." School, Band, and Orchestra, Feb. 2003, (accessed March 12, 2013), http://www.sbomagazine.com/7315/archives/february-2003/upfront-clarinet-pedagogy/
Article Title: Clarinet Pedagogy
Author: Stanley Topfer
Instrument: Clarinet
Magazine or Journal Title: School, Band, and Orchestra
Summary:
I. Embouchure: set up for good tone production
1. Correct position of the head
2. Natural head position; have students experiment with good and bad
II. Mouthpiece setup
1. Many players have too much top or bottom pressure
2. Have students bring their bottom lip and jaw to the mouthpiece, instead of vice verse
III. Overtone Exercises
1. Having them try to over-blow the 12th and sustain it may result in better intonation'
2. Keep as much of the bottom lip away from the reed as possible
3. Practice exercises to train bottom lip to stay over bottom teeth
4. Using extremely hard reed causes tension and sharpness
IV. Legato Playing
1. Good finger pressure and control
2. Work on finger lifting and finger shape for maximum efficiency and accuracy
V. The Reed
1. Preparing your reed is important for good reed life
2. Keep 3-4 playable reeds at all times
3. Every reed is different, require a different position on mouthpiece and ligature
Article Title: Clarinet Pedagogy
Author: Stanley Topfer
Instrument: Clarinet
Magazine or Journal Title: School, Band, and Orchestra
Summary:
I. Embouchure: set up for good tone production
1. Correct position of the head
2. Natural head position; have students experiment with good and bad
II. Mouthpiece setup
1. Many players have too much top or bottom pressure
2. Have students bring their bottom lip and jaw to the mouthpiece, instead of vice verse
III. Overtone Exercises
1. Having them try to over-blow the 12th and sustain it may result in better intonation'
2. Keep as much of the bottom lip away from the reed as possible
3. Practice exercises to train bottom lip to stay over bottom teeth
4. Using extremely hard reed causes tension and sharpness
IV. Legato Playing
1. Good finger pressure and control
2. Work on finger lifting and finger shape for maximum efficiency and accuracy
V. The Reed
1. Preparing your reed is important for good reed life
2. Keep 3-4 playable reeds at all times
3. Every reed is different, require a different position on mouthpiece and ligature