CLARINET STUDIO
SC H O O L O F M U SI C , T H E AT R E , A N D DA N C E
CLARINET ESSENTIALS DR. WESLEY FERREIRA
I am so pleased that you are reading my Clarinet Essentials booklet, updated and expanded for 2020. It has been written and complied for the purpose of providing a valuable resource with reliable information for high school clarinetists and teachers. Since arriving to Colorado State University in 2011, I have set out to positively influence the level of education and engagement of clarinetists in the state of Colorado. From my creation in 2012 of the annual Colorado Clarinet Day, with the Jr. Lift Clarinet Academy summer camp (see back page), in my yearly release of the Colorado All-State audition instructional videos (see pg. 27), and through the various clarinet events and esteemed guests that I host each year (see pg. 28), my desire to share my love and knowledge of the clarinet is genuine and sincere. Together with the success and achievements of many of my students (most of whom come from Colorado) I hope that you will agree that Colorado State University is the location for engaged, collaborative, and advanced clarinet study. This booklet contains information that I am often asked about, including how to prepare for music in college and my recommended clarinet equipment. I have also included a section on fundamentals of clarinet playing, common issues and troubleshooting, as well as 25 great pieces of music that every clarinetist should know. As always, please feel free to contact me if you ever have any questions! — DR. WESLEY FERREIRA
CLARINET ESSENTIALS DR. WESLEY FERREIRA
TABLE OF CONTENTS Fundamentals of Better Clarinet Performance.........................................4 Updated Clarinet Equipment Recommendations......................................9 25 Pieces Every Clarinetist Should Know..............................................16 Preparing for Music in College..............................................................18 CSU Honor Band...................................................................................21 Common Issues & Troubleshooting Your Clarinet Playing.......................22 Clarinet Events at CSU..........................................................................28 Clarinet Studio at CSU...........................................................................29 Biographies, Profile, and Contact..........................................................30
Fundamentals of Better Clarinet Performance DR. WESLEY FERREIRA AIR AND BREATH SUPPORT Air is the most fundamental concept in clarinet performance (nothing works without proper breath support). Only by drawing in deep and full breaths will a clarinetist be able to exhale with consistent and continuous airflow, using fast air speeds in all registers. ■■ Take a deep breath to your core without raising your shoulders or chest ■■ You should see your midsection expand ■■ Exhale instead of blow. Practicing starting your exhale with a “h” sound ■■ Use fast and cold air by arching your tongue (see tongue position)
■■ Always think of directing your air forward, like you are going to make a flame flicker in the distance, or spit a watermelon seed ■■ When running out of air only feel tension in your core, nowhere else in your body
EMBOUCHURE A good embouchure allows a clarinetist to produce a good tone, with correct intonation, using any articulation and in any register. ■■ Curl lower lip over lower teeth ■■ Place upper teeth on mouthpiece ■■ Breathe in while keeping teeth on mouthpiece ■■ Upper lip moves down towards mouthpiece and engages to remain firm ■■ Chin stays flat (avoid bunched chin), pointed down as if blowing into a pop bottle ■■ Corners of your mouth should be drawn in towards the mouthpiece and firm ■■ Cheeks should not puff out if corners are firm ■■ Use upward pressure to move mouthpiece into top teeth (see hand position) ■■ Your mouthpiece should not move in your mouth. Embouchure should not move ■■ Keep head up and clarinet at 30 degree angle to the body.
4
■■ If you are having problems with your embouchure, start by working with the mouthpiece and barrel alone. Playing the mouthpiece-barrel combination should produce a concert F#.
TONGUE POSITION Arching the middle of your tongue allows for a cold and fast air stream. This is essential to producing a clear and focused tone.
■■ Arch the middle of your tongue as if saying the word “he” (avoid having middle of tongue low in your mouth, in the “ha” position) ■■
Front of tongue should be lower, behind but not touching the back of lower teeth
■■
Keep this position consistent in your oral cavity in all registers
HAND POSITION AND FINGER MOVEMENT Relaxation allows a clarinetist to play with correct hand position. While remaining relaxed, the following points will allow a clarinetist to develop great technique. ■■ When your hands are relaxed, they have a natural “C” position ■■ Finger joints should not be locked. Fingers should be rounded ■■ Play with the front pads of the fingers, but not the tip of your fingers ■■ Left thumb should aim at the 2 o’clock position
5
HAND POSITION AND FINGER MOVEMENT (CONT.) ■■ Right thumb should contact the thumb rest between the nail and first joint
■■ Use right thumb to push up, applying pressure to the upper teeth and mouthpiece (a neck strap can help to ease the pressure on your right thumb) ■■
Fingers should always remain close to the keys
■■
Lift fingers from the back knuckle while keeping the rounded shape of each finger
TECHNIQUE Improved technique will come from consistently playing with relaxed finger movement and practicing technique slowly… methodically moving to faster tempos. ■■ Slowly practice technical passages in easily digestible “chunks” ■■ During slow practice be sure to play musically expressive ■■ Use a metronome to keep you steady and honest in your slow practice
■■ Incrementally increase the metronome tempo only so much as you can still play the passage accurately in rhythm, tone, expressiveness, etc.
TUNING It is important for clarinetists to develop the ability to play in tune. This is achieved by developing your ear as well as knowing the tuning tendencies of your instrument, including learning how to adjust pitch. ■■ When tuning an “open G” (throat tone), adjust between the barrel and upper joint ■■ When tuning a C (over the break), adjust between the lower joint and bell
■■ Know the tendencies and use it to your advantage. The softer you play on the clarinet the more the pitch goes sharp, the louder you play on the clarinet the more the pitch goes flat
■■ Keep your tongue arched (see above) consistently. Inconsistent movement of tongue arch will drastically affect pitch ■■ Avoid biting because this will raise the pitch
■■ When possible, “shadow” (hovering fingers above tone holes) or place extra fingers down to lower pitch. You can also press down keys to raise the pitch ■■ Create a “tuning chart” that maps out every pitch on your instrument ■■ Practice long tones and slow scales with a tuning drone ■■ Practice with a tuner
6
TONE In addition to the proper use of air, embouchure, and tongue position (mentioned above), the following will help clarinetists to improve tone.
■■ Practice long tones every day. Whatever type of long-tone exercise that you use be sure that it addresses every register of the instrument (you can add altissimo later, if it is too difficult at first)
■■ Long tones are the perfect time to focus on breath support, intonation, and embouchure development
■■ Listen to the best possible examples of beautiful clarinet tones via recordings. As a musician, you are what you hear every day ■■ Keep your tongue arched (see above) consistently
TONGUING The tip of tongue only stops the reed from vibrating. ■■ Tip of tongue touches tip of reed ■■ Tongue pressure should be no more than necessary to stop the reed from vibrating
■■ The tip (front of the tone) does the movement. The middle of tongue should remain in the arched position (see above) at all times ■■ Do not allow embouchure to move while tonguing ■■ No jaw movement (biting) when tonguing
■■ Articulation in the high register requires much less tongue motion and tongue contact than those in the lower register
EQUIPMENT Playing on the right equipment will allow a clarinetist to perform their best and will allow them to improve at a faster rate (see recommended equipment list based on level).
■■ “Stock” mouthpieces (the mouthpieces that come with a newly purchased clarinet) are of poor quality
■■ It is preferred that clarinetists always play on mouthpieces made by mouthpiece makers/companies.
■■ “Stock” ligatures that come with newly purchased instruments are not the best option for allowing the reed to vibrate evenly. Ligatures can affect general tone quality and ease of articulation greatly
■■ The best ligatures apply an equal amount of pressure on the reed throughout the reed while fastened to the mouthpiece
■■ Cloth/leather ligatures generally will give more control than metal ones, however metal ligatures can provide more clarity
7
REEDS AND REED PLACEMENT The strength of the reed used should be determined by the facing/lay and tip opening of the mouthpiece being used. In general, mouthpieces with larger tip openings required a softer reed than mouthpieces with larger tip openings, which may require a harder reed.
■■ Reed companies such as Vandoren and D’Addario have mouthpiece comparison charts which often list the best reed strength to use for a particular mouthpiece ■■ Reed strength vary by brand as well as the type of reed line within a brand ■■ Tip of reed should always line up with the tip of the mouthpiece. ■■ Reed must line up on the table of the mouthpiece
■■ Pick right reed strengths…. A reed that is too thick will sound airy and hard to play. It can cause severe embouchure problems, especially a bunched chin… A reed that is too thin will sound buzzy, and high notes will be difficult if not impossible to produce and will often sound flat ■■ Select a well-known brand of reed
EQUIPMENT CARE Caring for your clarinet promotes good playing habits. ■■ Keep hands and mouth clean ■■ Always swab your clarinet after playing ■■ Use a small makeup brush or paintbrush to brush away dust ■■ Use Q-tip for weekly tone hole cleaning ■■ Clean corks by wiping off old cork grease weekly ■■ For a wooden clairnet, oil bore on inside of the wood at least once every 4 months If you have any questions about anything written on these pages, please do not hesitate to contact me. I would be happy to explain and clarify any of the concepts and techniques. — Dr. Wesley Ferreira
8
Clarinet Equipment Recommendations (Updated 09/01/19)
DR. WESLEY FERREIRA Bb CLARINETS BEGINNER Bb Clarinets at the opening price range are typically made of plastic or a comparable synthetic material. Most clarinet manufacturers make affordable and durable instruments for beginners. The following instruments are recommended (alphabetical order): ■■ Bundy - Standard BCL-300 - $449 ■■ Backun - Alpha Clarinet - $956 ■■ Buffet Crampon - Prodige Student Bb Clarinet- $599 ■■ Yamaha - YCL-255 Student Bb Clarinet - $987 NOTE: If possible, students should keep their beginner plastic instrument after stepping up to a wooden instrument in case their wooden clarinet needs to go in for repair or whenever they need to use a clarinet outdoors (such as in marching band). INTERMEDIATE Intermediate level Bb clarinets better allow a clarinetist to produce a good tone and improved technique. These instruments are all made of wood and are a great option for students who want a wooden instrument without the price tag associated with advanced (professional) models. The following instruments are recommended (alphabetical order): ■■ Backun - Protege Grenadilla wood clarinet- $2585 ■■ Buffet Crampon - E11 Model - $1195 ■■ Buffet Crampon - E12 Model - $2000 ■■ Selmer Paris - Prologue Bb Clarinet- $1999 ■■ Yamaha - YCL 450 - $1375 NOTE: At these price points, is is also a good idea to look into well cared for USED advanced (professional) models, which can be found at comparable prices.
9
ADVANCED Advanced clarinetists and professionals choose to play the best clarinets. These clarinets have been designed in consultation with professional clarinetists and do not “get in the way” of the player’s playing due to superior acoustical and ergonomic design (something that occurs in Intermediate and Beginner model clarinets). They are made of wood and are made of the best materials and acoustical designs by the premiere instrument music companies. The following instruments are recommended (alphabetical order): ■■ Backun - models include Model F, Protege, Moba prices $4820 - $7995 ■■ Buffet Crampon - R13 Nickel Keys (most popular professional model) - $3599
■■ Buffett Crampon - Other models include R13 Prestige, Festival, Divine, Tosca, Vintage, RC, RC Prestige, Conservatoire, and Tradition - prices $3999 to $8200
■■ Selmer Paris - models include Signature, Privilege, and Recital - prices $5700 - $7000 ■■ Yamaha - model YCL-CSVR - $3089
BASS CLARINETS BEGINNER / INTERMEDIATE Bass Clarinets at the beginner - intermediate level play down to an E-natural or Eb (although some models play down to C natural). Most are constructed of a composite plastic material but some are in fact made of wood. The following instruments are recommended (alphabetical order): ■■ Allora - model AABC-304 - $1399 ■■ Jupiter - model JBC1000N - $2220 ■■ Selmer - model 1430LP - $2010 ■■ Vito - model 7168 - $1869 ■■ Yamaha - model YCL-221 - $2215 ADVANCED Advanced bass clarinets are typically played by college music students, professional clarinetists, and those who choose to play the best instruments. These instruments play down to an Eb or low C natural depending on the model and have been designed in consultation with professional players. They are made of wood and are made of the best materials and acoustical designs by the premiere instrument music companies. The following instruments are recommended (alphabetical order): ■■ Buffet Crampon - 1183 Prestige Low Eb Bass Clarinet - $10, 400 ■■ Buffet Crampon - 1193 Prestige Low C Bass Clarinet - $11.410 ■■ Selmer Paris - model 65 Low Eb Bass Clarinet - $10,850 ■■ Selmer Paris - model 67 Low C Bass Clarinet - $12,660
10
■■ Yamaha - YCL-622II Low C Bass Clarinet - $8980
MOUTHPIECES (Bb CLARINET) BEGINNER Unfortunately, the “stock” mouthpieces that come in the cases with clarinets are not good options for beginners to develop on. Many established mouthpiece makers make a “student” model mouthpiece for an extremely affordable price. When compared to “stock” mouthpieces, these mouthpieces will transform a student’s playing, helping them to improve at a faster rate and allowing for a much more focused sound. The following mouthpieces are recommended (alphabetical order): ■■ Clark W. Fobes - Debut model Bb Clarinet mouthpiece - $28 ■■ David Hite - Premiere model Bb Clarinet mouthpiece - $21 ■■ David McClune - Plato model Bb Clarinet mouthpiece - $39 ■■ Ridenour - Encore model Bb Clarinet mouthpiece - $45 INTERMEDIATE At the intermediate level, it’s important that clarinetists play on one of the following intermediate clarinet mouthpieces. A mouthpiece can make a bigger difference at the intermediate level in some cases than a clarinet. At this level, clarinetists should try a variety of mouthpieces before choosing the right fit for them. This can be accomplished at your local music stores (which should carry the following models) or by contacting music stores online about a shipping mouthpieces for trial. Each model will feel and play differently. At the intermediate level, the following mouthpieces are recommended… items in bold are my personal recommendations for this level of student (alphabetical order):
■■ D’Addario Reserve Bb clarinet mouthpieces - Recommended models include: X0, X5, X10, X10E, X15E, X25 - prices $85-110
■■ Vandoren (13 Series American pitch) Bb clarinet mouthpieces - Recommended models include: M13, M15, 5RV, M30, B40, BD5 - prices $85 - 110
NOTE: These intermediate models are also considered advanced (professional) models since many professionals play on these D’Addario and Vandoren mouthpieces. ADVANCED In addition to the D’Addario and Vandoren models listed above, advanced and professional clarinetists often play on mouthpieces made by established mouthpiece makers. Here is a list (alphabetical order) of recommended models: ■■ Behn Clarinet Mouthpieces- $290-$780 ■■ Clark Fobes Pro Clarinet Mouthpieces- $225 ■■ D’Addario Reserve Bb Clarinet Mouthpieces- $85-100
11
ADVANCED (CONT.) ■■ David McClune Mouthpieces- $150-$245 ■■ Hawkins Bb Clarinet Mouthpiece Pro model- $185-325 ■■ Lomax Classic Mouthpieces- $150-$300 ■■ Vandoren (13 series-American pitch) mouthpieces - $85 - $140 ■■ Walter Grabner Bb Clarinet mouthpieces -$240 - 310 NOTE: At the advanced level, students should be trying out many different brands and kinds of mouthpieces to see what feels best to the individual player. Though many choose a custom mouthpiece such as those listed above, a cheaper Vandoren or D’Addario is always a good option. Consult your teacher about the best mouthpiece for you.
MOUTHPIECES (BASS CLARINET) BEGINNER / INTERMEDIATE Moving to a bass clarinet mouthpiece designed by a mouthpiece maker can make a big different for beginner and intermediate and bass clarinetists. The mouthpiece maker Clark W. Fobes has created a great bass clarinet mouthpiece at an affordable price that will make playing the bass clarinet easier for all students at this level. ■■ Clark W. Fobes - Debut model bass clarinet mouthpiece - $46.99 INTERMEDIATE/ADVANCED Depending on what kind of bass clarinet the intermediate and advanced level player uses, adding one of the following mouthpieces can take a player to the next level. Here is a list (alphabetical order) of recommended models: ■■ Backun - Moba bass clarinet mouthpiece - $356 ■■ Clark W. Fobes - professional model bass clarinet mouthpieces - $179.00 - $440 ■■ Richard Hawkins - bass clarinet mouthpiece - $315 ■■ Selmer Paris - bass clarinet models include: Concept, Focus - $325 ■■ Vandoren - bass clarinet models include: B30, B40, B44, B45, B46, B60 - $136 NOTE: At the advanced level, students should be trying out many different brands and kinds of mouthpieces to see what feels best to the individual player. Consult your teacher about the best mouthpiece for you.
12
REEDS (STANDARD BOX OF 10) BEGINNER For players who are just starting out on the clarinet and for the first few reeds, the following are recommended (alphabetical order): ■■ Juno - $45 ■■ Rico (Orange Box) - $20 INTERMEDIATE The following reeds have a different file and cut, allowing for better tone from a more experienced player. Here is a list (alphabetical order) of recommended reeds: ■■ Legere (Plastic Reeds) - $32.50 ■■ Mitchell Lurie - $18.95 ■■ Rico Royal (Blue Box) - $18.99 ■■ Vandoren (Blue Box) - $21.95 ADVANCED ■■ D’Addario - Reserve - $21.95 ■■ D’Addario Reserve Classic - $27.99 ■■ Peter Leuthner - French Cut - $31 ■■ Pilgerstorfer - French Cut - $26.95 ■■ Silverstein - Alta - $45 (box of 10), $25 (box of 5) ■■ Vandoren (Blue Box) - $21.95 ■■ Vandoren - V12 - $24.99 ■■ Vandoren - V21 - $27.99
LIGATURES BEGINNER The basic metal ligatures that come with clarinets do not provide the optimal even pressure on the reed to allow for a uniform sound on the clarinet. In general, metal ligatures provide a brighter or more prominent tone, while leather or synthetic cloth ligatures provide a warmer less prominent tone. *Make sure to always have a cap to protect the reed and mouthpiece. The following are inexpensive options that will make a big impact on a developing clarinetist (alphabetical order): ■■ Bonade - Ligature (inverted or regular) - $20.99 ■■ Luyben - Bb clarinet ligature and cap - $12 ■■ Rovner - Dark Ligature and Cap - $21.99
13
INTERMEDIATE At the intermediate level, students can continue to use the Bonade or Rovner ligature (above) to great affect. They may also move to the advanced level ligature options based on budget. The following are a few more ligature options in addition to the ones listed under the beginner heading (alphabetical order): ■■ D’Addario - H ligature and cap - $32 (Gold), $32 (Silver) ■■ Vandoren - M/O series ligature - $40 ADVANCED There are so many ligature options available to clarinetists. As with mouthpieces, at the advanced level, students should be trying out many different brands and kinds of ligatures to see what combination of their mouthpiece/reed works with which ligature. It is advisable to consult your teacher about the best ligature option for you. Here is a list of recommended ligatures (alphabetical order): ■■ BG - Super Revelation - $48 ■■ BG - Tradition - $90 ■■ Bonade - inverted (Gold plated) - $60 ■■ Rovner - Versa - $55 ■■ Ishimori - Woodstone - $100 - $260 ■■ Scott - 4 Spot ligature - $60 ■■ Silverstein Ligatures - $80 - $200 ■■ Vandoren - M/O series ligature - $40 ■■ Vandoren - Optimum - $90
OTHER ACCESSORIES SWABS Cleaning the inside of your clarinet after playing is important to protect the integrity of the instrument. It is advisable to use a silk swab or other comparable (smooth) material. Due to greater friction of their materials, chamois and cotton swabs have a higher probability of getting stuck in the instrument. Also, make sure that your swab has a coated or cloth covered weight to reduce the wear and tear in the bore of your instrument. The following is a list of recommended swabs (alphabetical order): ■■ GEM Silk Clarinet Swabs - $8.99 ■■ Vandoren SW200 Microfiber Swan - $17.30
14
STAND/PEG A clarinet stand or “peg” is an important accessory to own. It allows the player a proper place to put the clarinet when not being played. Some pegs are sturdier and heavier than others. Some fold up for storage inside the clarinet bell when the clarinet is in its case. The following is a list of recommended pegs. (alphabetical order): ■■ K&M - model 15222 - $16.99 ■■ Hercules - model DS440B TravLite In-Bell - $29.99 ■■ Blayman Clarinet Peg - $38.99 NECK STRAP Playing the clarinet does not allow the right hand to be ergonomic. This can cause some players to feel pain in their right wrists and arms. It has become very acceptable and in some cases encouraged for players to play with a clarinet neck strap. In some cases, playing with a neck strap allows developing clarinetists to improve at a faster rate because it allows the clarinet to stay stable in the embouchure and allows for more freedom of finger movement in the right hand. The following neck straps are recommended (alphabetical order): ■■ Claricord - Clarinet Neck Strap - $21.80 ■■ BG - Clarinet Neck Strap - $26.99 BORE OIL Wooden clarinets are made of an African wood called Grenadilla and the bore (inside of the clarinet) gets dried out after time. Pulling an old swab with bore oil on through the clarinet hydrates the wood. This should be done every 4 months. ■■ Professor Weinberg’s Hydrophilic Bore Oil - $12.55 NOTE: Do not use your current clarinet swab to oil your bore. Designate a separate swab as your oil swab. Place a drop of bore oil on the oil swab and then run it through your clarinet 2 - 3 times. If you have any questions about anything written on these pages, please do not hesitate to contact me. I would be happy to explain and clarify any of the equipment, recommend best places to purchase them, etc. — Dr. Wesley Ferreira
15
25 Pieces Every Clarinetist Should Know DR. WESLEY FERREIRA Here is my list of top 25 pieces of clarinet solo and chamber music repertoire that every clarinetist should know. This list will get you started. It’s important to recognize these pieces and learn about their history and significance. These pieces have been recorded many times and are easily accessible through YouTube. Additionally, you can access many of these scores for free via IMSLP (International Music Score Library Project). Listed in alphabetical order:
Composer
Title
Instrumentation
Bartok, Bela
Contrasts
Clarinet, Violin, Piano
Beethoven, Ludwig von
Trio in Bb major, Op. 11
Clarinet, Cello, Piano
Brahms, Johannes
Sonata No. 1 in F minor
Clarinet & Piano
Brahms, Johannes
Sonata No. 2 in Eb major
Clarinet & Piano
Brahms, Johannes
Trio in A minor, Op. 114
Clarinet, Cello, Piano
Brahms, Johannes
Quintet in B minor, Op. 115
Clarinet & String Quartet
Copland, Aaron
Concerto
Clarinet & Orchestra (piano version available)
Debussy, Claude
Première Rhapsodie
Clarinet & Orchestra (piano version available)
Mendelssohn, Felix
Konzertstück No. 1 in F major, Op. 113
Two Clarinets & Orchestra (piano version available)
16
Mendelssohn, Felix
KonzertstĂźck No. 2 in D minor, Op. 114
Two Clarinets & Orchestra (piano version available)
Messiaen, Olivier
Quartet for the End of Time
Clarinet, Cello, Violin, Piano
Mozart, Wolfgang Amadeus
Concerto in A major
Clarinet & Orchestra (piano version available)
Mozart, Wolfgang Amadeus
Kegelstatt Trio in E-flat major, K. 498
Clarinet, Viola, Piano
Mozart, Wolfgang Amadeus
Quintet in A major, K. 581
Clarinet & String Quartet
Nielson, Carl
Concerto
Clarinet & Orchestra (piano version available)
Poulenc, Francis
Clarinet Sonata
Clarinet & Piano
Saint-Saens, Camille
Clarinet Sonata
Clarinet & Piano
Schubert, Franz
Shepherd on the Rock, D. 965
Clarinet, Voice, Piano
Schumann, Robert
Fantasy Pieces, Op. 73
Clarinet & Piano
Stravinsky, Igor
Three Pieces
Clarinet alone
Stamitz, Carl
Concerto No. 3 in Bb major
Clarinet & Orchestra (piano version available)
Weber, Carl M. von
Concertino, Op. 26
Clarinet & Orchestra (piano version available)
Weber, Carl M. von
Concerto in F minor, Op. 73
Clarinet & Orchestra (piano version available)
Weber, Carl M. von
Concerto in Eb major, Op. 74
Clarinet & Orchestra (piano version available)
Weber, Carl M. von
Quintet in Bb major, Op. 34
Clarinet & String Quartet 17
Preparing for Music in College Whether you intend to pursue a degree in music or simply want to continue participating in music in some way during college, then Colorado State University is the place for you. AS A MAJOR/MINOR There are several undergraduate and graduate music degrees available to students at CSU. Each degree focuses on a different concentration and each will require a clarinet audition in order to be admitted. ■■ Bachelor of Music - Music Education
■
Master of Music - Music Education
■■ Bachelor of Arts in Music
■
Master of Music - Performance
■■ Bachelor of Music - Performance
■
Master of Music - Conducting
■■ Bachelor of Music - Music Therapy
■
Master of Music - Music Therapy
■■ Bachelor of Music - Composition ■■ Music Minor As part of an undergraduate music degree at CSU students receive weekly clarinet lessons. Therefore, it is necessary to attain a minimum proficiency level on the instrument in order to be accepted into the program. Taking lessons prior to your audition is advised but not necessary. Students are accepted into the program based on their potential for growth. It is not necessary to have studied music theory or history extensively prior to studying music in college. These are skills that you will develop in your classes here. Some experience prior to college in singing and playing a keyboard instrument will go a long way to helping you become a successful music student in college. PREPARING FOR YOUR AUDITION: 1. Apply to CSU 2. Read all of the information listed online: music.colostate.edu/admissions 3. Register for a Music Audition (you will be able to select a preferred date and time) 4. Prepare materials for your clarinet audition by visiting: music.colostate.edu/clarinet 5. Feel free to contact Dr. Ferreira (wesley.ferreira@colostate.edu) if you have any questions AUDITION DAY: 1. Check-in at least an hour before your audition* 2. Warm-up in one of our practice rooms 3. Locate your audition room 15 minutes before your audition time
18
4. When your audition has ended, you will be able to take a theory diagnostic assessment** 5. If you wish to pursue a degree in music education or music therapy concentration, then you will have a short meeting with the area faculty (if you are pursing another music degree, then your audition day is complete). *you will receive further instructions including important room locations **This assessment is basic, and will test of your knowledge on the fundamentals of music. It is not used to evaluate whether you will be accepted or not, per se, but it will give us an idea of your strengths and weaknesses in music theory. If you have a difficult time with this assessment but are accepted into the music program otherwise, we will recommend that you shore up your skills prior to taking the first year music theory course. WHAT TO EXPECT AT YOUR AUDITION: When you enter the audition room you will be greeted by several friendly and smiling faces welcoming you. These are the professors of the woodwind area who will be listening to your audition. We do this not only because we are happy to see you but also because we understand that you might be a little bit nervous and/or excited. We want you to do your best ( just as much as you do) and so we try to create a relaxed environment for you. THERE ARE FOUR COMPONENTS TO YOUR AUDITION AND WE WILL ASK FOR THEM IN THIS ORDER: 1. Performance of your two contrasting pieces (piano accompaniment is not required) 2. We will ask you to play 3 - 4 scales (major, harmonic minor) 3. You will be given a short excerpt to sight-read 4. We will play some notes on the piano and ask for you to sing or hum the pitches back to us FOLLOWING YOUR AUDITION: Within a few weeks of your audition you will be notified of your results officially by the School of Music, Theatre, and Dance including possible scholarship offers. Remember that no matter how well your audition went, acceptance into the music program is contingent on being accepted into the University. Prospective undergraduate students have until May 1st to decide which music school to attend. During this time Dr. Wesley Ferreira is available to communicate with you! NEED A NEW CLARINET FOR COLLEGE? University professors have an incredible amount of knowledge and resources to help students select the best clarinets and clarinet accessories (mouthpieces, ligatures, reeds, etc.) available. As a music major, it is advisable that students not purchase a new clarinet for college before speaking to their new teacher. If you are looking to change or upgrade your current clarinet, whether you are going to college to study clarinet or not, feel free to contact Dr. Wesley Ferreira anytime.
19
AS A NON-MAJOR No matter which major you intend to pursue in college, everyone has the opportunity to continue participating in music at Colorado State University. There are classes (music history, music theory, and music appreciation) that you can take, music-specific organizations and fraternities/sororities that you can join, and the following ensembles are available for any CSU student to perform in (more information available at music.colostate.edu): CONCERT BANDS
JAZZ BANDS/OTHER INSTRUMENTAL ENSEMBLES
Wind Symphony (audition)
Jazz Ensemble 1 (audition)
Symphonic Band (audition)
Jazz Ensemble 2 (audition)
Concert Band (non-auditioned)
Jazz Combos (audition)
ATHLETIC BANDS
NEW MUSIC ENSEMBLE
Marching Band (audition)
Clarinet Choir
Presidential Pep Band (audition) Basketball Pep Band (audition) ORCHESTRAS CHOIRS Symphony Orchestra (audition)
Chamber Choir (audition)
Sinfonia (audition)
Concert Choir (audition)
Concert Orchestra (non-auditioned)
University Chorus (non-auditioned)
Men’s Chorus (non-auditioned)
20
THE SCHOOL OF MUSIC, THEATRE, AND DANCE PRESENTS
WITH GUEST CONDUCTOR JAMES SPINAZZOLA CSU’s nationally renowned Honor Band Festival is an annual event, bringing together the finest high school musicians from the Rocky Mountain region, selected from hundreds of applicants from throughout the western United States. The three-day festival features guest conductors and clinicians from across the country and is capped off with a performance by the High School Honor Band.
DECEM B ER 12–14 Audition required. Contact: Copper.Ferreira@colostate.edu. Deadline is October 4
Common Issues and Troubleshooting Your Clarinet Playing DR. WESLEY FERREIRA
TONE Issues with tone are most often the result of poor embouchure formation, too much or too little pressure from the jaw, and issues with air speed and breath support. The following chart accounts for more specific issues.
Issue
Causes
Troubleshooting
Small, Pinched, or Muffled tone
May be caused by too much pressure on the reed with the lower jaw.
Less biting on the mouthpiece and reed. Imagine large cotton balls in between your molars.
or Too little mouthpiece in the mouth. Mouthpieces all have different facings. The point at which the reed touches the mouthpiece (the lay) can be shorter or longer. Use a piece of paper and place it in between the opening of the reed and mouthpiece. The point at which the paper stops is the place where a clarinetist should place their bottom lip on the mouthpiece. Often, students use too little mouthpiece in their mouths when their mouthpieces require that they use more.
22
Issue
Causes
Troubleshooting
Loud/Squawky tone
May be caused by poor embouchure formation
Reinforce even pressure around the mouthpiece with upper lip, corners of mouth and lower lip pressure
(a tone which can be described as lacking in body and focus, generally uncontrolled, and commonly flat in pitch)
and/or A poor reed
Replace reed or check reed placement
and/or Low tongue position in mouth
Reinforce an arched tongue position with “hee” sound
and/or
Hard/Cold tone (a tone which is inflexible and which lacks a quality of vitality) Weak/Colourless tone (a tone which is smooth in quality but lacking in body and carrying power) Inability to produce/control soft tone
Associated with a mouthpiece that has a longer lay/facing with an open tip
Look to replace mouthpiece (see notes on equipment)
Caused by a mouthpiece that has a lay/facing which is too open and too long
Look to replace mouthpiece (see notes on equipment)
Cause most often by a lack of proper breathing and breath support
Reinforce deep inhalation and exhalation from your core
Due to an inability of the player to project a steady, concentrated stream of air
Use “faster air” in order to keep breath support continuous
and/or A reed which is too stiff, a mouthpiece too open, poorly shaped embouchure Squeaking
See notes on equipment. Check all three if breath support is not the solution
Squeaking on the clarinet is usually caused by a hole not being completely covered by one of the fingers, by a leaky pad which must be replaced, by a chipped or uncentered reed, by an incorrect embouchure putting pressure unequally on the reed, by taking in too much mouthpiece when playing, or by “overblowing” the note that you are trying to play
23
Issue
Causes
Troubleshooting
Escaping air sound
Air escaping from one corner of the mouth while playing is another clear indication that something is wrong with embouchure formation
The correction is to push the corners of the mouth (embouchure) forward and towards the mouthpiece
ARTICULATION Issues with articulation are most often the result of a lack of breath support and air speed. Beyond this, issues leading to poor articulation are commonly a result of too much movement of the tongue in the mouth, issues with tongue placement of the reed, and/or issues with tension. The following chart accounts for more specific issues. Issue
Causes
Troubleshooting
Sluggish articulation
The entire tongue is moving forwards and backwards in mouth
The solution is to keep the center of the tongue arched in the “hee” position and stationary and to just move the tip of the tongue only… up and down to touch the tip of the reed for articulation
(a lot of movement between the chin and throat is a visual cue that the entire tongue is moving in the mouth) “Thoo” sound
Tongue is touching too low on the reed
Make sure that the tip of the tongue is touching the tip of the reed
“Chewing” while tonguing
The jaw is moving up and down while tonguing causing a pinched sound or an articulation sound that is not immediately responsive
The solution is independent tongue movement through isolated practice. Have students focus on the “off” motion of the tongue coming away from the reed (after touching it) rather than emphasizing “hitting” the reed with the tongue
“Undertones” when tonguing in the clarion register
Associated with a mouthpiece that has a longer lay/facing with an open tip
See notes on equipment
and/or Tongue is “hitting” reed too low and with too much weight and/or Voicing too low in the clarion register
24
Reinforce proper tonguing techniques
Practice voicing exercises
INTONATION Issues with intonation are varied. Common causes include lack of breath support, as well as conceptual (listening) work which needs to be worked on. Specific to the clarinet, the following chart accounts for additional issues and includes an explanation of how to adjust for better intonation. Issue
Causes
Troubleshooting
Clarinet angle
Playing at an angle too far out from the body generally lowers pitch
Experiment with how clarinet angle affects intonation and tone by checking with a tuner
Playing at an angle closer to the body generally raises pitch Tone holes
A dirty tone hole can lower the pitch of a note
Promote maintenance of an instrument including the cleaning of tone holes with a Qtip
Mouthpiece
Some mouthpieces are made to have the clarinet play in tune at A=442, while others at A=440
See notes on equipment
Tongue position
Lower tongue arch in the mouth generally lowers pitch
Experiment with how tongue placement affects intonation and tone for the individual student
Raised (arched) tongue position in the mouth generally raises pitch
Whistling higher and lower notes can make you aware of tongue arch movement. Always play with a raised tongue position (as if whistling higher)
Instrumental maintenance
Pads which do not cover tone holes completely cause “leaking� of air from the instrument. The result is the lowering of pitch
Maintenance and care of your instrument is very important
Volume
When the clarinet plays louder, the pitch lowers
Listen for these changes Adjustments can be made with your jaw to circumvent changes of intonation due to volume. For example, more jaw pressure raises pitch, and loser jaw pressure lowers pitch
When the clarinet plays softer, the pitch raises
25
Issue
Causes
Adjustments
As the clarinet “warms up” it gets The first point of adjustment when tuning increasingly more sharp concert A or Bb is the bell (which affects notes in the low end of the instrument)
Troubleshooting
The second point of adjustment is barrel/ upper joint (affects throat tones) The third point of adjustment is between the upper/lower joint (affects notes in this area) It is not recommended to adjust at the mouthpiece/barrel unless absolutely needed NOTE: It is important to spread out the areas of adjustment by pulling out equally throughout the instrument. Do not “pull out” just at the barrel (for example)
FINGERS, HANDS & HOLDING POSITION Hand position should be relaxed with rounded fingers as if holding a can of soda. The goal is to maintain relaxation in order to form a “c” shape and to lift fingers from the back knuckle.
Issue
Causes
Troubleshooting
“Flying fingers”
Pointing tips of fingers upwards
Encourage fingers to remain hovering over tone holes when not in use
Playing with tense fingers
Practice finger drills, lifting and touching slowly
Instrument not centered on body
Some students allow the instrument to point towards one knee or the other. This may be caused by students reading from a shared music stand
Playing centered on the body promotes an embouchure that is centered in one’s mouth and avoids tension related to holding torso and neck in an unnatural way
Clarinet bell resting on leg
This is a frequent problem which usually occurs when the student is uncomfortable holding the weight of the instrument on the right thumb.
Use a clarinet neck strap. This problem has an effect on the embouchure
26
Issue
Causes
Troubleshooting
Right thumb position
Many students, especially those The use of a neck strap will prevent with small hands, tend to hold the many bad habits from forming (should be positioned between the clarinet with the knuckle of the end of the nail and the first knuckle of thumb. This does not allow for the the thumb) “c� curvature of the fingers of the right hand Fingers assisting thumb in holding the One will often find younger instrument clarinetists holding up the clarinet with their right hand index finger under the side trill keys (in addition to their right hand thumb) in order to ease the strain on their right hand thumb
Promoting the use of a neck strap will ease the strain on the student’s right hand thumb
Head inclined downward
Raise music stand
Music stand is too low and/or The weight of the clarinet may be an issue
Encourage the use of a neck strap
and/or The student has allowed a bad habit of not playing with good posture
Use a mirror, review the correct playing position, and establish a thirty degree angle of the instrument with the body Practice playing standing against a wall where the back of the head and back both touch the wall
Colorado All-State Instructional Videos The music faculty at Colorado State University invite you to reference this set of All-State Instructional Videos, designed to help prepare high school woodwind, brass, string, and percussion students for their upcoming auditions. Dedicated to its land-grant heritage, CSU is committed to promoting music and pedagogy of the highest quality, serving music education through the actions of faculty that benefit the students, teachers, and citizens of Colorado. music.colostate.edu/all-state-instructional-videos
27
Clarinet Events at Colorado State Every year, we host many performances featuring the clarinet, we bring in famous clarinet guests, and we create exciting clarinet workshops and events, all of which are open to the public… and many are free! Please contact Dr. Wesley Ferreira by phone, email, or social media to take advantage of these opportunities, for complimentary tickets for you and your friends/family, or more information. All events take place at the University Center for the Arts at Colorado State University, unless otherwise noted.
UPCOMING (FALL 2019 - SUMMER 2020) TUESDAY OCTOBER 8TH GUEST MASTERCLASS MARIAM ADAM (INTERNATIONAL SOLOIST) AND STEPHANIE ZELNICK (UNIVERSITY OF KANSAS) WEDNESDAY OCTOBER 16TH GUEST PERFORMANCE KIMBERLY COLE LUEVANO (UNIVERSITY OF NORTH TEXAS) MONDAY DECEMBER 9TH GUEST MASTERCLASS & PERFORMANCE JANA STARLING (WESTERN UNIVERSITY) WEDNESDAY JANUARY 29TH GUEST MASTERCLASS & PERFORMANCE BORIS ALLAKHVERDYAN (LOS ANGELES PHILHARMONIC) TUESDAY MARCH 3RD GUEST MASTERCLASS & PERFORMANCE JACKIE GLAZIER (UNIVERSITY OF ARIZONA)
LIFT EVENTS LIFT CLARINET ACADEMY WITH GUEST ARTIST ALAN KAY (JUILLIARD SCHOOL OF MUSIC) Monday June 15 - Friday June 19 www.liftclarinetacademy.com
28
JR. LIFT CLARINET ACADEMY HOSTED BY WESLEY FERREIRA (COLORADO STATE UNIVERSITY) Date: Monday June 8 - Friday June 12 www.jrliftclarinetacademy.com
The Clarinet Studio at Colorado State University The Clarinet Studio at Colorado State University is a dynamic and engaging program brimming with opportunities. Under the direction of Dr. Wesley Ferreira and Professor Sergei Vassiliev, value is placed on achieving career goals as well as striving for personal growth. The discipline needed to develop advanced skills on the clarinet is used in a broader context. A great amount of emphasis is placed on problem-solving, attention to detail, personal accountability, and fundamentals of clarinet technique, as well as developing leadership qualities, individual expression, and self-awareness. These are the values that students will take away with them long after graduation, into wherever their life and career path takes them. In the context of a supportive environment, students learn from one another by striving to succeed. Group discussion on pertinent topics, weekly performance masterclasses, and participation in chamber music groups and large ensembles allow students to become active performers and apply their knowledge in context. Guest artists are continually brought in to stimulate learning, and outside opportunities throughout the academic year and into the summer months are encouraged and sought out to further enhance musical and artistic development. A large amount of individual attention is provided to each student, discerning their strengths and weaknesses and developing an individualized clarinet curriculum to meet their needs and career goals. Thinking outside of the box and developing ones marketability in the ever-evolving place of music within society is a focus. Technology is used to analyze physical and aural issues impeding growth and non-musical devices are used to spark awareness and give confidence to students performing on the clarinet. Dr. Ferreira’s personal mantra of "Press On" has become the clarinet studio mantra. Through persistence and determination, students can achieve success as musicians and as people.
29
Clarinet Faculty at Colorado State University One of the more visible and active clarinetists on the scene today, Wesley Ferreira has been praised by critics for his “beautiful tone” and “technical prowess” (The Clarinet Journal) as well as his “remarkable sensitivity” (CAML Review). Fanfare Magazine notes, Ferreira is “clearly a major talent”. Ferreira leads an active and diverse career performing worldwide as soloist, orchestral and chamber musician, and as an engaging adjudicator and clinician. Equally at ease performing the masterworks as well as contemporary pieces, he has been a featured soloist with numerous wind bands and orchestras in North America and Europe and has been broadcast nationally on both Canadian and Australian broadcasting corporations. Recent performances have taken him to Austria, Brazil, Canada, China, Ecuador, France, Germany, Hungary, Italy, Poland, Portugal, Russia, Slovakia, and Spain. Ferreira’s discography now totals seven, including the 2013 East Coast Music Award winner - Classical Recording of the Year. His most recent album entitled Arrival (Centaur Records) was released in 2019 and features works from prominent Portuguese composers. This advances his doctoral research of curating works for clarinet that include Portuguese folk elements. Indeed, as a means of artistic growth and furthering scholarship, Ferreira demonstrates avid support for new music by frequently commissioning and premiering works, and he continues to champion Portuguese music in North America. In 2015, Ferreira was awarded winner of the International Portuguese Music Awards in the Instrumental Category. Born in Canada, he received his musical training at the University of Western Ontario (B.M) and Arizona State University (M.M and D.M.A) studying with Robert Riseling and Robert Spring, respectively. Following four years in the position of single-reeds instructor at Mount Allison University, he joined the music faculty at Colorado State University in 2011 and now maintains a thriving clarinet studio as associate professor. Ferreira is frequently invited to give performances, workshops, and masterclasses at high schools, colleges and universities throughout North America. In addition, he has been invited to perform at national and international academic conferences including the International Clarinet Association’s annual ClarinetFest on numerous occasions (2009—2017, 2019). As co-founder and artistic director of the Lift Clarinet Academy, a summer music festival and training ground which attracts students from around the world, Ferreira has gained
30
a reputation as a skilled and dedicated music educator and pedagogue. Passionate about teaching, he mentors students towards the achievement of their career goals, with emphasis placed on striving for professional and personal growth. His innovative teaching methods are acclaimed, including the development of the breath support training program for musicians, Air Revelation®. Ferreira’s industry endorsements include positions on the performing artist rosters of Selmer Paris and Vandoren.
PERSONAL PAGE: Facebook.com/mrwesleyferreira ARTIST PAGE: Facebook.com/wesleyferreiraclarinetist INSTAGRAM: @thewesleyferreira EMAIL: wesley.ferreira@colostate.edu
To learn more about Wesley Ferreira, please visit his website wesleyferreira.com Clarinetist Sergei Vassiliev is a soloist, chamber musician, orchestral musician and teacher. His recent solo engagements include performing the Mozart Concerto with the Kharkiv Philharmonia in Ukraine and Weber and Spohr concertos with orchestras in Colorado. Sergei plays chamber music at Festival Mozaic, Green Box Arts Festival, and Colorado College Music Festival. Vassiliev can be heard on the recent Bridge Records release, "Quattro Mani: Re-Structures". Sergei has held principal clarinet positions with Des Moines Metro Opera Orchestra and Boise Philharmonic, has appeared with Houston, Colorado Symphonies, and many other symphony orchestras. He is the tenured principal clarinetist with the Colorado Springs Philharmonic Orchestra . In 2019, he was a featured soloist in the new "Signature Series" with the CSPO. Sergei maintains a teaching studio in Colorado Springs. Vassiliev's principal teachers are Yehuda Gilad, Richard Hawkins, Fred Ormand, and Michael Webster. He holds degrees from University of Michigan, Rice University, and University of Southern California. Sergei is a D’Addario Artist.
31
FORT COLLINS, COLORADO at COLORADO STATE UNIVERSITY THE JR. LIFT CLARINET ACADEMY IS AN ACTION-PACKED FIVE DAY JOURNEY, DESIGNED FOR STUDENTS AGES 13 -18 WHO ARE SEEKING TO EXPAND THEIR KNOWLEDGE AND STUDY OF THE CLARINET WITHIN A SUPPORTIVE AND ENGAGING MUSICAL ENVIRONMENT. Organized and hosted each year by clarinet professor Dr. Wesley Ferreira and his graduate clarinet students, the program emphasize a well-rounded curriculum with specific focus on the clarinet. Students participate in daily classes ranging from general musicianship to clarinet-specific topics, enjoy social outings and activities, and daily private clarinet lessons, group instruction, chamber music and large clarinet ensemble.
J U N E 8-12, 2020 w w w . j r l i f t c l a r i n e t a c a d e m y . c o m