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CLARINET

FUNDAMENTALS

A Workbook for Developing


Clarinet Technique
By
Joshua Gardner

2012 Joshua T. Gardner


v.1.3

CLARINET FUNDAMENTALS
A Workbook for Developing Clarinet Technique
By Joshua Gardner
The purpose of this workbook is to present the performance fundamentals necessary to
develop satisfactory technique on the clarinet. The exercises include long tones, scales,
arpeggios, thirds, and various single and multiple articulation exercises. With proper
instruction, they will help you develop adequate air control, correct and agile finger motion,
proper hand position, flexible intonation, and articulation accuracy and speed. By learning
these fundamentals and committing them to muscle memory, you will be able to make music
more efficiently and with fewer limitations. All of the exercises are presented in two
octaves. You should expand them to three octaves gradually as you become comfortable
with the upper register. An altissimo fingering chart is included at the end of this workbook
for your convenience.

CONTENTS:
Intonation Guide for Long Tones .............................................................................................1
Long Tones ...............................................................................................................................2
Major & Minor Scales ..............................................................................................................3
Major & Minor Arpeggios ........................................................................................................5
Major & Minor Thirds ..............................................................................................................7
Additional Scales & Arpeggios ................................................................................................9
Rhythm Patterns ......................................................................................................................14
Intermediate Single & Multiple Articulation Exercises .........................................................15
Single Articulation ..................................................................................................................16
Multiple Articulation ..............................................................................................................17
Articulation Patterns ...............................................................................................................18
Altissimo Fingering Chart ......................................................................................................19

Intonation Guide for Long Tones


Being able to play in-tune with a tuner does not necessarily equate to being able to play in-tune within an
ensemble. Certain pitch adjustments need to be made when playing in ensembles. Using a tuner provides the
opportunity to learn the general tuning tendencies of our instruments and how to adjust to those tendencies.
Once we know our instruments tendencies, we can better predict how to manipulate a given note to be intune within a performance context. Below is a table indicating the pitch changes necessary to play a given
interval in-tune (for Just Intonation). In addition to playing Long Tones with a tuner, play them with a drone
to practice adjusting to these various intervals. Try to eliminate the beats between the two tones. Listen
carefully for a third tone the difference tone (also known as the resultant tone, combination tone, or Tartini
tone), which is defined by the frequency difference between you and the drone. For nearly every interval
above the drone pitch, some adjustment will be required to be in tune.
To lower the pitch, it may be necessary to close tone holes partially or completely, depending on how much
adjustment is required. To raise the pitch, try to avoid using excessive embouchure pressure this will
affect the sound detrimentally. A better option is to open tone holes to raise the pitch. Experimentation will
yield the best results with your particular setup.

Pitch adjustments required for Just Intonation


Interval

Ratio

Adjustment (cents)

Unison

1:1

Minor 2nd

16:15

Major 2nd

9:8

+3.91

Minor 3rd

6:5

+15.64

Major 3rd

5:4

-13.69

Perfect 4th

4:3

-1.96

Augmented 4th

45:32

-9.78

Diminished 5th

64:45

+9.78

Perfect 5th

3:2

+1.96

Minor 6th

8:5

+13.69

Major 6th

5:3

-15.64

Minor 7th

7:4

-31.17

Major 7th

15:8

-11.73

Octave

1:2

0.00
+11.73

0.00

Long Tones
&c

&

#w

#w

& #w

#w

#w

#w

#w

#w

&

&

&

#w

#w

#w

#w

#w

#w

#w

#w

#w

#w

#w

#w

Major & Minor Scales


&c

C Major

&

A Natural Minor

&b

F Major

&b
&b

&b

Bb Major

Eb Major

& b
R

bb

C Natural Minor

& b
&

bbbb

&

bbbb

&

bbbb

&

bbbb

Ab Major

F Natural Minor

Db Major

Bb Natural Minor




R



R




R
R

G Natural Minor

bb

D Natural Minor

R
L


R S

R L


R

L




R
L

R
L


R
R
R
R K
K

L R

R
S
R
K

K L R


R
S

b
& b bbbb

Gb Major

&
&
&
&
&

####

####


R 2

K R 2

E Major
R

####

C# Natural Minor

###

&

##

&

##

A Major

&

&

F# Natural Minor

D Major

B Natural Minor

# G Major
#

E Natural Minor

C Major

&

G# Natural Minor

###

&

B Major

b
& b bbbb

Eb Natural Minor

####




R
R

L
R




R
K
L R

L




2
R
R

K
2
R
2




R



L R
R
L

R L

L



R L

R L

R


L

R L

R L
R

L

R L

w

Major & Minor Arpeggios


R
R
R
R

&4


R
R
R

&

R
R

R
R
R
R
R



&

b

&


1/1

R
R

bb

&





bb


&



R
R
R

bb b

&

R
R
R
R R
R
R
L
L
L



bb b

&

R
R




L
L

bb b b



&

R
R
L
R
R
R
R
R
bb b b



&



L
R
R
L
R

bb b b

& b


1/1
R
R
R
bb b b



& b

R
R







R



R


1/1

L


R

R


R

1/1

b


& b bbbb


1
1
R
R
R
R


& b bbbb

R 1
1 R
L 1
R
1 L
####

& #

R
R

L
#


& # ##


R
L
L
R
R
R
R
L
R
R
R
####



&




L
R
R
L
R
R
####



&

R
R
R
R
###

&

R
R

R
L

R
R
R
R
R
###




&




R


##




&

R
R
R
R
R
R
##

&

R
R

R
R
#




&


R
R


R
R
R
#
R
R

&






R
R
R

R


&

1
R

1
R
R
R


R
R 1
1 L

R
R

L


R
R


1
R
R

R

1 R

L 1
R


R



Major & Minor Scales in Thirds

R L R


& c

R
L
L
R

L R
# # # # n n R L R


& # # #
#
L R
L

R R R

R
n # n # bR n R R

R L R



& b n # n
L
R
&b

&

bb

&
&

bbbb

L R

R
R L


R R

R
R
R

bbb

R
R
# 2 n # 2 b n L
n


n # 1 n

R
R

R
R
R R R L R

b


& b b

b
&b


#
R


R
R

n n n b b R L R
n


n n n

R R
R
R
R
L

L
R L
L L R R

R R
R

R
R
2

R
n b L b L R R
n

R
R
R

L
2
2 R
R R R 2 2 L L R

R
R L
L



b

& b bbb

b
& b bb

L S

b
& b bbb


n
L

L R


R
S L

R b 2b 2 L L R
L n n n n

n
R R
1
S L
R
R
R

R L
L
2 2 L L R

2 2 R LS 1
L
1
S L
R 2
R
b b R R 2 2 L L R L
R
R
2
L
2 n nn n


bbb

n

b
& b

b
& b bbbb

LS

&

####

&

####
####



2
L

L R


n R
1
S L

R R 2 2 L L
2
2 R


#

1 1 L

L
R
1
1
R L

2 R

R 2

L
R n # 2 L L


#
# #

L
1
1
R L
2 2R R

R
R 2
2
RL

&

1 1 L

L
R
1
1

2 2R R

R
R 2
2
L
L
L
L R
R
R # R #
L L
2 2 #
#
n n 2 2 L L R
####


###
&

R L

R1

&

1 R

L
2
R
2 2 2 R L R

L
L
1
1
1
1
R

###

# # # n n
#

&

# # #

2 2 R
LS
L R
L
1
1
1
2
2
R
L R
L

2 2 R L
R L
R
2
##
2

&

###

&
&
&

LR

2
2 R
# # # R n n 2 R L
#


##
#

1 1
#
1
1
L
R L

##

RL

R
2
2 2 R L

1
1
1
1
L
R
L

R L

# # # n n
#


# # # 1 1 L

R L
1
1

2

2 R
2
2
R
RL

L R

Additional Scales and Arpeggios


Chromatic Scale

5
&4

# #

# #

# # #

#
L

b n b b L
b b b K b L R L
b b b b
&
b b
L R

Chromatic Scale in Major Thirds

& 46
&

b b b
K
L
R L

n # n b n # b

n # b n # n b n # b
b

b n # b n # n b# n n b

b b n # n b # n b
# b n

& # n b # n b n b b n # n b # n b # n
b # n b n b b n # n n

Chromatic Scale in Minor Thirds

&
&

b n n b # n b b

b n n b # n b #

bn n b# n bb n# bn bb n b b

# n # n b b
# #

b
& # nbbn#bn#bn bb # b n b
b n # b n # b n n
9

b b b b b

b b
& c b b b
b w
Minor Scale Forms
Natural

b N N b b

N b
& b b N
b w
Harmonic

N N b b b

b b
& b N N
b w
Melodic

b A A
b

b b
b
b

Whole Tone Scales

& 68

a a
#

a
#

# # #
&
#

# # #
# # #
.

Octatonic Scales

&c
&

b
#

b
#

b b n #

b b n b A A
a b b b

b n #
b

#
bbn

&
#

# #

a bA

b # nA
10

# b b


#bb

a #nb

b #

# b b

# # n b

Blues Scales

& 4 b # b

b # n
b b
# n b

b b
b

& b b n b b
b
b b
b

& b b b n b b

b b b N b
b b b
b N b b
b b b N b
b b b
b N b b

b b N b b
b

b N b
b

b b b N b b

b b N b
& b b n b b
b
b
b b b b N b
b

b b b
b
b

b N b b
b

& b b
&

# # # n
#

# # # n
#
#

#
# # # n

# # n
& # #

&

# n

# n

# n

# n
& #

# n

# n
& #

&


# n b
# n b

&

b #

11

Diminished Seventh Arpeggios

3
&4
b

b b b
b
b
b b

b
b

b b
b
&

b b
b
b

b # b

# b
b #

# b
&
#
b

.
.
#.

Augmented Arpeggios

a
a
#

aa
&
#
a
#

a a # #
a a
# #
a
a
#

&

a
#
a #

&

b b

b b

b b

A A

A A

A b b

b b

b b

A A

A A

a
a
#

&

a #
a
#
12

Dominant Seventh Arpeggios


& c b

&

b

b b


& b b

b
b b
b

b

& b b b

b b


b b

b
b b
b


b b
b

b b
b


& b b b
b
b
b b
b


& b b b b
b

w
w
bw
bw

b b
b

b

b b
bw
b b
b

b

b b
bw

b
b b
b

&

b b
b

bw
b
b


#




& # #
#

b b
b



&

w
#
#


#


& #
#
w
&

&



13

Rhythm Patterns
1.

& c ..

2.

& ..

3.

& ..

4.

& ..

..

..

..

..

3
3

5.

.
& .. . . . .

6.

& .. . . . .

7.

& 43 ..

8.

& ..

9.

..

& c ..

10.

& .. ..

14

..

.
.

..
..

.
.

Intermediate Single & Multiple Articulation Exercises


1. Pre-Langenus #1

2
&4


etc.

2. Pre-Langenus #2

& c


etc.

3. Endurance with a single note

&

& b

b b

&

etc.

4. Five-note scales

# # # #

etc.

5. Endurance with scales

&

&
& #

# #

# #

# # # #
#
# # #
15

etc.

Single Articulation
Adapted from Langenus


&

#

#


&
5

&
10


&
14

# #

#
&
19

#
&
23

28

&
32

&
37

&
40

&

#
#
#
#

#
#


# #
# #


16

Multiple Articulation
6
&4
3

&

# #

#
& #
6

&
11

&
13

&
15

&

# #

# #

b b b
b b
&
17

& b b b
20

b b

23

&
25

&
27

&

# # #

# # #

# # #

# #

#
b b b
b b b
b b b

17

b b b
b

b b b

b b

Articulation Patterns

1.

2.

3.

4.

5.

6.

7.

8.

9.

&c
w


&
w


&
w


&
w


&
w


&
w


&
w


&
w


&
w
18

Altissimo Fingering Chart


Joshua Gardner & Eric Hansen
In the process of writing our book, Extreme Clarinet, which includes guidance for playing in the extreme
altissimo register, we figured it would be helpful to provide some fingering suggestions. The following
fingering chart is the one we include with Extreme Clarinet. It includes the fingerings we use when playing
and teaching the exercises in the book. These fingerings are ONLY suggestions. We encourage you to be
creative with fingerings because what works well for us may not work so well for you and vice versa. The
usefulness of certain fingerings may depend on your particular equipment setup. We both play similar
setups, so all of these fingerings work equally well for both of us. If you cannot find a fingering in this chart
that works well for you, dont worry there are many other fingering charts available that may have a
solution. The last three pages of this chart include some blank diagrams so you can record additional
fingerings that you find useful.
The octaves are labeled in accordance with the American National Standards on Acoustics. For example, C6
is the third C on the clarinet two lines above the staff. Note: all pitches are written, not sounding.

C6

D6

From Extreme Clarinet 2012


Joshua Gardner, Arizona State University
Eric Hansen, University of Wisconsin - Green Bay

C#/Db6

D#/Eb6

E6

F6

F#/Gb6

20

G6

G#/Ab6

21

A6

A#/Bb6

B6

C#/Db7

C7

D7

22

D#/Eb7

F7

E7

F#/Gb7

23

Custom Fingerings
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24

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25

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26

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