Experiment Make Discoveries Play each note ith a ull, rich tone. Breath as oten as necessary. q =60 m b æ n Long Tones Chromatic Scale-Ascending 5 minutes b n æ b # # # E e E # r ) 6 Ab key æ # # E æ Ee æ n Dr. John Cipolla b b (Resonance ingering or A#/Bb) # E e E A key rab key A key EE e # # æ # Ee E E E r EE r/a A key E E e r 6 ) æ A key Ab key e E E
Experiment Make Discoveries # E EeE ee EE EeE key r A key A )6) Ee E Eeæ E E e 6 r ) E A key EeE A key A key e E E E Ee E )6 EE e Ee E e EE e Ee E EE Ee E # # EE e Ee E ) 6 ) EE e EE E e E æ ) 6 æ EE e Ab key ee E E E e Ee Ė r or e E E EE e E e E A key Ee E Ab key E E e EE e r A key E e ee E E
Experiment Make Discoveries The ~ Air/Tone Crescendo Decrescendo 1 minute symbol means to play only air ith no tone. Dr. John Cipolla These exercises develop the "eel" o bloing a ocused air column and coordinating it ith the proper lip pressure on the reed so you can begin a tone exactly hen YOU ant to-ithout the aid o the tongue. Once you have this ability, the tongue can then be used to articulate and begin notes, but you are not dependent upon it to begin ALL notes. This exercise also helps reinorce the need or the player to alays blo a CONSTANT stream o air through the instrument. I like to think o the tone "RIDING ON TOP" o the air stream. Even hen there is no tone produced, there should be constant air pressure against the reed. The tongue closing o the reed prevents the tone rom being produced, but the pressure o air should alays be there. q =60 ~ TONE AIR m p Air only, then end ith short tone ithout using tongue. Crescendo, ~ ~ pp Crescendo then Decrescendo, pp Try to develop a eel or hat the ocused air stream and loer lip pressure against the reed eel like hen the tone actually begins Π~ ~ m AIR m (no tongue on quarter!) Air only, then tone. Play in exact rhythm. Tone should begin exactly on beat 1 m Keep the same m dynamic level through the entire exercise. Alternate beteen air and tone, BUT... keep a steady pressure o air throughout. The extremely light lip pressure on the reed is hat makes the reed vibrate ith the underlying air lo. O O.. m m m m AIR
Experiment Make Discoveries Harmonics/Overtones (Chalumeau to Clarion) 3 minutes Chalumeau to Clarion *Establish a nice resonant tone on bottom note irst * When the upper note's tone ends, continue ith only air, as i the tone is continuing *Play one or to o these per day, i time permits, play all 9 exercises Dr. John Cipolla q =60 b b # In this exercise, e are learning to think o the air and tone as seperate, as i the tone rides "on top" o the air. And that e should alays blo a constant stream o air hen playing the clarinet. # b # b # #
Experiment Make Discoveries Harmonics/Overtones (Clarion To Altissimo) 2-5 minutes Play the upper note o each three-note group by overbloing the loer-note ingering. I you hear the upper note in your mind irst, you should soon be able to blo a ocused air stream and produce the upper note ithout changing your embouchure beteen registers. Each note should be PRECEEDED ith a slight "hu" o air. In these exercises, NO tongue should be used to begin or end the tone. We are learning to "eel" the exact point at hich the combination o ocused air and lip pressure on the reed make the reed begin to vibrate to produce a tone. Play each note at a FORTE dynamic level ith a strong stream o air. Pay close attention to the moment the note speaks ater the hu o air. As you practice these exercises, try to predict hat the note ill "eel" like beore it is played. You should ocus on: 1) bloing a ocused air stream (I like to think o saying, "Shhhhoooo" ith the loer lip lat against the loer teeth-the embouchure should be ully ormed hen producing this sound ith the air). Also try to think o bloing the air diagonally upard to the point here the inside upper teeth meet the upper gums o the mouth. 2) eeling o the reed against loer lip. I you don't eel the reed or are at least not aare o it against your loer lip, you may be biting too hard against the reed ith you loer lip. 3) hearing the actual pitch in your mind BEFORE you play it. 4) not moving the loer ja beteen registers. This overtone exercise helps to transition beteen the clarion and altissimo registers. It also helps to learn to "hear" notes on our instrument not only ith our ears, but also ith the eel and ocus o our "air column" and the eel o the reed vibrating against our lip. No Tongue to start each note! U U # U U U # U U b U U b U U U U U U bu b U U
Hal Whole Steps Trills (10 minutes) Play all slurred, then all tongued. Focus on keeping a steady stream o air. Focus on precise inger movements and correct ingerings. Give the bracketed areas extra practice time. Only play as ast as you can play CORRECTLY. This is a good practice habit to develp in yoursel and in your students. SLUR ALL NOTES FIRST. MOVE FINGERS SMOOTHLY PRECISELY. Dr. John Cipolla Experiment Make Discoveries # #. b b n #. n # # #. # #. b. b n #. # #
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Experiment Make Discoveries 5 Note Articulation Bursts 2 minutes Dr. John Cipolla In this exercise, you may breath herever necessary. I you ind it helpul, you may take breaks throughout, stopping and restarting so you can ocus on the resistance o a speciic register or note. As you cross through various registers, you ill ind the air resistance changes, almost eeling like you have to blo a bit harder hen crossing the throat break. Also, the right-hand clarion notes like D, E, F, G tend to be a bit harder to articulate. Try to ocus on any o these types o areas in your practice. This exercise should ALWAYS be played ith a metronome. Clear articulation is as much dependent on PRECISE RHYTHM as it is on proper use o the air and tongue muscle. Play and teach your students to PLAY RHYTHMICALLY. q =60, 80, 100, 120, etc. # # b. n b n b # #. # n. #..... n # n. # # #. n # n # n # Copyright John Cipolla 2005