bhs band warm-up packet band warm-up packet clarinet fingering chart ... many piccolo and flute...

Download BHS BAND WARM-UP PACKET   BAND WARM-UP PACKET CLARINET Fingering Chart ... many piccolo and flute players tune with more air than needed. ... Clarinet in B Baldwin Band

Post on 17-May-2018

216 views

Category:

Documents

1 download

Embed Size (px)

TRANSCRIPT

  • BHS BAND WARM-UP PACKET CLARINET

    Fingering Chart ........ 1

    Intonation Tendencies 2

    Long-tones 4

    Circle of Fifths 5

    Articulation 6

    Flexibility/Technique 8

    Scales 13

    Chorales 18

    Need to Know 24

    Theory 25

  • F

    B Clarinet Fingering ChartP5 GI G G5 A

    1

    I:

    4 !

    A A$

    !or!: i :. . .

    IJ L t

    II.... I

    B C C$ D D 05 E F F5

    U 1- .

    : , : L 8 8. 0 aorora 0 0Ca 0 0 0 0 0 0 0 a 0 0 0 a 0 0 0 0 00 0 0 0 0 0 0 0 0 0 0 0G G5A A A5 B C

    - .Z j, L. .. o-

    -- EE

    Il I1g g ii i : it!: it: 1: :2 2 2 2 or or 00 0 0 0 a o V % 0 0 0 0 0 0 0 0 0 0 tt I I I t

    C5 D D 0$ F E P F$ G G (4 A A

    !4:-i

    I

    !:

    zjj7;:

    A B B C C$ D, V D$E F

    : 8 !tl it1 1102 0 2 2 2 :0 0 0 0 . o a0 0 0 0 0 0 n a a0 0 0 0 0 C 00 0

    F5 G G 6$ A A A5 , B C$:4zZ-

    : 1* itI lb tIc tb bib lid itt ill:2 a 0 0 a a or or 2 20 i I 00 0 0 a 0 a 00 a a a 0 a a 0 0Wt2

  • 000lO

    oc

    1 00

    01000

    oooio

    oc

    oO

    o1O

    0Q

    -

    00010

    00

    *

    00

    01000-

    00

    01000-

    0001

    00

    0-

    00010

    00

    -

    ..

    0

    0

    I

    00010S

    04

    00

    01o

    .

    00

    01

    00

    0oo{oo

    00

    01

    00

    0 1

    0001000

    0

    00

    0l0

    0

    00

    0l0

    0

    00

    01

    000l0

    0

    O e 01

    I

    5551

    5ii

    44 .44

    0.

    iS

    t

    0l

    0!i

    I

    0D

    il...

    I

    ooi

    1

    05

    01

    55

    51

    5.5

    5.5

    01!

    S..!...

    sijis

    .!.i

    fl

    ..e...

    Ig -

    II

    8.S

    SlS

    SS

    I-

    C, C, S S C, C)

    e

    0S

    01#S

    s\

    ,

    000!

    .000{S

    Si

    I

    .0

    00

    0..

    I L000

    L0

    00

    (05

    5 .0001095 \

    000IO

    SS I

    ooo!c..

    0

    QQ

    :

    OO

    tOO

    I

    S C, r C, C, r S

    C,

    I C, a S S r S C) S C.,

    S 01 r

    S 01 I r S 3

  • &JC

    )00

    .O

    l00

    0

    .,0

    00

    :

    .1

    -fi

    01000

    .0

    )00

    0

    40

    01

    0o

    C

    2

    2

    C

    4.o

    looo

    4

    0)0

    00

    9

    9

    4

    2

    4)000

    4

  • hTendencies&AdjstmentsClarinetF Flat

    (Notes not addressed areS Sharpgenerafly acceptable)V Very

    l!2H Half hole

    fU

    Pitch

    Tendency F F F F F SAdjustment No 1,2, 3,4 & RT Use I & 4 none LTI & Si Add 4, 5,6Fingering

    Adjustment

    43,

    S vs s S S SUse 3, 4, 5, 6 Use A & S4 or None Use A & S4 None half hole Iand RPI 3,4 and RPI or I & 4 Possible shading

    of left hand

    i:i

    S S VF VF Fhalfhole I LTI. l/2H 1,2.3 LTI, l.2,3,LP4 LTI, 1,2, LTI,2,4,5,RP45andRP4 4,5,6 4,5,6,RP4 or LTI. i,4,RP4

    or LTI.RP4

    page 15

  • Clarinet

    LP3

    ILP1

    4

    LT2 OQo

    S4S3S2SI

    page 14

  • 3The Tuning Process

    Wood winds

    psp.ficcQIQi Play diatonically from top line F up to Bb three or four times. Tune the Bb Scents

    sharp. (Note: Bb on piccolo is not always the most centered note. If you find this to be true. 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 Reinmington 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, it is still imperative that we become

    consistent in our approach to tuning. Play diatonically from 1st space F up to 3rd tine 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 slightly 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.

    B.n: 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 overall and a #2 bocal 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 fend to make the pitch problems

    less frustrating for you and your double reed players.

    Clarinet: Check 2nd line G and adjust the barrel (approx. 1/8 inch). Then check low C. If it is sharp, adjustthe middle joint. Finally check 3rd spaceC. If this note is also sharp, adjust the bell. (Note: If this ad)ustmentfurther flattens low F then disregard.) Once this is completed, play up to each note, diatonically, three orfour times to insure consistency. (Note: Most student clarinets are built sharp. This is why it is imperativeto secure an accurate reading on 2nd line G first.)

    AJiQnd Ban Sax: First check 2nd line G. It should be very close to the centered pitch. Second checkG above the staff, This note should register slightly sharp. Play up to these notes diatonically, from 1), three

    or four times. (Note: Top line F sharp is the best note to check for zero tolerance.)

    ThnoLS Follow the same procedure as alto sax. Second line G should be almost perfect and G abovethe 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 veryImportant part in the successful development of acceptable intonation.

    page 5

  • B-flat OverlapBreathing!f

    Clarinet in B Baldwin Band Standard WarmupsLong Tones

    Separate

    4 z Player 1 Player 2 Player 1 Player 2 Player 36 F Concert Paynter]

    -

    - I - I13 B-flat Paynter (Descending)

    J - IJI -19 D Paynter (Descending)

    U _j U II22 F Paynter (Ascending)

    .1 1,J I I II

    25 Paynter (Skips)

    I II

  • Appendix

    (c minor)

    A

    (e flat minor)

    A

    (f sharp minor)

    C

    (a minor)

    G

    (e minor)

    (d minor)

    B

    (g minor)

    D

    Circle

    of

    Fifths

    (f minor) D

    (b flat minor)

    G

    E

    (c sharp minor)

    F$ (gsharp minor)

    W32CL

  • III

    I

    1

    CCCCC)

    cCCCCCC)C)C)CCCC)C)CC

    CC)C)

    Cl)

    -CC)C

    1

    CID

    CCC)C)

    Cl)

    NCCCCC)C)

    CCCC)C)CCC

    l)CCC

    II

    IIIIIIIIIIIIIIIIIIIIIII

    J

    IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

    JJJJ

    1-j

    I

    CCCl)CC

    -CCCCCC

    CCCCCCl)CCCCCCCCOCCCOCCHC

    )

    HI

    I

    CCCOCCCCCCOCCCCOCCHC)CC

    I

    C)

    H

    1J

    II

    1I

  • Application xerctses ttrom MOuilK auver uur, me vrripmete

    Saxophonist. Glenmoore, PA: Northeastern Music Publishers)

    Spoken Exercises3

    I1 2 3

    to to iu to Ia to a hi to a to to to to Ta a Ia to iuto

    0 7 3 9 11)

    iu to a let ter let ter tat - tie tat tie tit ter tat - ter low toe ow toe

    r r r r r r r r r rII /2 /3 /4 /5

    toe low toe toe toe ow to - tal to Hi ti tie ti tIe ti tie to tal

    r r r r r I r r Ir r r r Ir r r

    /0 17 1/ /9 10 11

    lot-ta lot-ta lid-die lid-die dig-gie dig-gie tic-Ide tic-Me tarry tar-ry rat-tie rat-tie

    r r r r 1r r r r r r r r r r r rr r rr r r I

    /

  • C.,)

    31:

    c

    I I

    1 1 1 1 1 1 I I I I I I

    I! I I

    - I I I I I I

  • Warm-Up Set 1

    Option 1 (unison lip slur with brass)

    4cJ J J 1, ii JI 3 5

    i4

    -Y 7

    J(J I Ii IJii 12 13 -4 4 14

    Option 2 (unison register study with brass)

    [e r r le IJ I, UI 3 5

    .. r J U

    r r J11 13

    Options 3, 4, & S (technical patterns with brass lip slurs)

    Articulation Patterns:

    1 31

    1O

    14

    W32CL

    6

  • .F::)

    -

    -

    FFFfl1111*jim

    ffHIliii!iw

    l

    Nil!

    liii)1ILLL.IIH

    llttrn11111H

    ill11111lii4

    4liill

    \

    lIIIf\rrr1111111111lI!44

  • 8

    11/arrnUp Set 3

    Option 1 (Unison lip slurtwith brass)

    Option 2 (unison register study with brass)

    Options 3, 4, & 5 (technical patterns with brass lip slurs)2 4 S 6 7 8Articulation Patterns:

    ___ ___ __

    jJjJ

    W32CL

  • WarmUp Set 4

    Option I (unison Up slur with brass)

    A

    ..

    7

    Option 2 (unisOn register study with brass)

    91o

    l4

    Options 3, 4, & 5 (technical patterns with brass lip slurs)

    Articu1

Recommended

View more >