Clarinet 1) Family and transposiotions a) Ab soprano clarinet (down m6) b) Eb Terz Clarinet (down m3) c) C concert clarinet (NT)

d) Bb military clarinet (up M2) e) A Orchestral clarinet (up M3) f) E Basset horn (Up P5) g) Eb Alto Clarinet (Up M6) h) Bb Bass Clarinet (Up M6) i) EEb Contra Alto Clarinet(Up 8va + M6) j) BBb Contra Bass Clarinet Up 8va + M9) 2) Parts of the clarinet a) Barrel b) Upper joint c) Lower joint d) Bell e) Mouthpiece with ligature 3) Clarinet is a G tube I the lower register and a D tube in the upper register 4) Assembling the clarinet a) Put the bell on the lower joint using a slight twisting motion = b) Pressing down on the rings on the upper joint raise the upper bridge key, add it to the lower joint with a slight twisting motion. Line up exactly with the upper and lower joint bridge keys c) Add the barrel joint d) Add the mouthpiece ligature and reed. 5) Hand position a) Right hand using the holes on the upper joint b) Left hand using the holes on the lower joint c) They make a perfect x 6) Instrument range a) Beginner i) e up to c3 b) Intermediate i) e up to g3 c) Advanced i) e up to c4

7) Embouchure Formation a) The lip support the reed and mouthpiece inwardly in all directions with the general formation, a position frequently likened to a drawstring around the mouth b) The lower teeth support the lip, but there is no substantial upward pressure of the teeth, and never any biting. Pressure against the reed is essentially that provided by the lip. c) The chin muscles must be firm (some authorities say pointed) and in no circumstances rolled upward toward the lip. 8) Variables in embouchure a) The amount of lower lip over the teeth b) How much the lower lip is stretched or bunched to form the foundation upon which the reed rests. c) The amount of mouthpiece taken into the mouth

9) Basic embouchure formation a) Keeping the lips lightly together, drop the lower jaw so that the teeth are about there-eights of an in apart. i) Do not push the jaw forward b) Shape the lips as if saying the letter O the corners of the mouth are slightly compressed, and there are wrinkles in the lips, especially the lower lip. i) This produces a firm, thick cushion to support vibration of the reed. The thinner cushion preferred by many fine teachers is formed by pulling corners of the lip back to stretch the lower lip to the required degree c) This step determines how much lip will be over the teeth when tones are produced. i) With the teeth dropped and lips in the O position, the line that divides the lower lip from the chin should be directly in front of the top edge of the lower teeth. ii) Feel this with a finger, then raise or lower the jaw until this relationship is correct. iii) This puts most of the lower lip into the reed support area, and exact placement must be determined by the players facial characteristics. iv) Other standard approaches put the edge of the lower teeth farther down on the lip to decrease the lip area supporting the reed. d) Maintaining this position, insert the mouthpiece into the mouth, allowing the reed to push the lower lip over the teeth. i) The placement determined in the preceding step will determine the amount of lip over the teeth. ii) Contract the lips around the mouthpiece so that no air can escape. e) The end of the reed must be clear of any contact with the lip for three-eights to half inch in order to vibrate freely. Feel this with the tongue. f) Upper teeth rest, but dont press, on top of the mouthpiece about a half inch from the end. i) The most common problem is having to little mouthpiece in the mouth.

g) The lower teeth remain in the open position established in step C. i) They support the lower lip and must not bite. h) The chin is held in a firm flat positioning with a light downward pull of the muscles. i) The first effort at tone production should is with the mouthpiece alone. i) Using standard breath support, produce a tone by blowing with using the tongue. ii) Check embouchure formation in a mirror to be sure it does not change when sound is produced. 10)Challenges a) Amount of mouth piece in the mouth b) Biting c) To hard/soft reed d) Puffed cheeks e) Dimples in the cheek 11)Breathing a) Inhale b) Suspension c) Exhalation 12)Tonguing a) Tip of the tongue to the tip of the reed i) Saying Tah-tah ii) Double tonguing (1) Tu-ku iii) Triple tonguing (1) Tu-ku-tu 13) Instrument Care a) Items needed i) Key oil ii) Bore oil (wooden instruments) iii) Mouthpiece brush iv) Shove-its/pad savers v) Swab vi) Tiny screwdriver 14) Study books a) Class i) Standards of Excellence b) Private lesson i) Rubank 15)Instruments

a) Student i) Selmer ii) Yamaha b) Professional i) Yamaha ii) Buffet