Some years ago I purchased a used copy of the Artie Shaw clarinet method and studied from it with the guidance of my mentor, Ted Casher (an excellent player/ teacher). NAME. It can transform classical sounding phrases into sure fire jazz phrasing to dramatic effect. II-V-I Patterns for Bb Clarinet Pages 1 to 100 (1.7 MiB, 1,841 hits), F Blues - Eddie Daniels Solo (32.5 KiB, 1,479 hits), Shine - Eddie Daniels Solo (66.7 KiB, 1,324 hits), Let's Dance - Eddie Daniels Solo (40.9 KiB, 1,177 hits), II-V-I Patterns for Bb Clarinet (4.8 MiB, 1,098 hits), As Long As I Live - Eddie Daniels Solo (46.9 KiB, 1,041 hits), Benny Goodman Collage (121.7 KiB, 809 hits), II-V-I Patterns for Bb Clarinet Pages 201 to 286 (1.4 MiB, 804 hits), II-V-I Patterns for Bb Clarinet Pages 101 to 200 (1.8 MiB, 795 hits), Eddie Daniels Collage (732.6 KiB, 537 hits). Save my name, email, and website in this browser for the next time I comment. I found the book very valuable in developing my technique, and again flexibility. A final word on the music……spend the money and begin building your CD or download library. Likewise, he was a musical risk taker--and there are many recordings which show both successes and failures on that count. I am certain you will achieve a satisfying measure of success. verbal instruction and fingering diagram. Practice this way of phrasing on any material that interests you, learn to apply it to some transcribed solos, and then finally implement it in your practice by learning solos note for note off classic recordings. That myth has enveloped Shaw to a degree too--partly at his instigation; but he was no different--his concern with the clarinet itself was profound, at least surrounding those years in which he gave us so many masterpieces. You should strive to develop these basic patterns through the entire range of the clarinet and through all 12 major and minor tonalities ultimately without reading them. While its a great performance, it is still isn’t as cool, in my book, as Beatboxing on the Flute. Therefore, if the phrase starts on the beat, the phrase should start with two articulated notes, the second which is slurred into, and then proceed to alternate tongue-slur, tongue slur etc……see the first line my example.

The genesis of this book is a result of my experience learning to play the clarinet and saxophone and teaching both clarinet and saxophone to over 2,000 students in the last 25 years. Proper jazz articulation is the key to having solid phrasing technique in the jazz idiom. Knowing your major and jazz melodic minor scales and having some degree of fluency with them is the first step towards learning to improvise. And doing something other than “assuming the position”. DESCRIPTION. It's nice to see he acknowledged that hard work at least occasionally. Clarinetists in particular coming from a classical background invariably have difficulty learning jazz phrasing, and the secret is in the articulation. 2b. That he turned each of those decisions into a monumental success doesn't negate what a risk they were. Not to take anything away from Goodman, there is just something about Shaws tone that just amazes me. A great practice project would be to overdub some Bach Two Part Inventions of yourself with a program like Garage Band, Logic or ProTools using proper jazz articulation and see what you sound like. I played clarinet in high school but gave it up after college. What I found gratifying about the Method book was that Artie acknowledged, for once, that his involvement with clarinet technique was serious, with the added bonus that he was consciously aware that it went beyond classical technique.

Can't say I agree with your assessment of Benny Goodman, though. Likewise, Benny's quest for artistic satisfaction lead him to integrate his band, forming the Benny Goodman Quartet with Teddy Wilson and Lionel Hampton, then adding Charlie Christian and Cootie Williams, among many, many others. Vous trouverez dans les "sous-pages" plusieurs types d'exercices techniques classés par catégorie. Note this page in F should be transposed to all 12 major/minor tonalities. It doesn't surprise me at all that he was reluctant to talk about technique related stuff. I'm a 55 yr old who just discovered jazz and more specifically big band only in the last year or so. Many educators teach the swing eighths are an eighth note triplet with the first two eighths tied together, followed by the remaining leg of the triplet. I find a lot to admire in Shaw. Your goal should be to familiarize yourself with as many of the great recordings and clarinetists as you can.

I am certain you will achieve a satisfying measure of success. But, I’d start with trying to stretch the fingers first, and your wrists. Extended techniques . Leblanc or Selmer – Best clarinet for jazz?

So if you are finally ready to delve deeply into the study of the clarinet and it’s role in jazz, then by all means, take some time to digest the material contained in The Improvising Clarinetist. Please either login or create an account first. BG is enjoyable but safe and Artie is exciting and for listeners who don't mind being challenged. Does anyone have any suggestions on how to maintain a more relaxed posture/fingers when playing?”. Copyright Eric Seddon.
It doesn't surprise me at all that he was reluctant to talk about technique related stuff. Articulation with respect to clarinet (and saxophone) refers to the use of the tongue, where it is placed with respect to the beat, and how the articulation is used to execute phrases.

I predict the result will lead you to higher ground in your jazz phrasing and articulation going forward. As a classical player, he commissioned concerti by modern master composers such as Bela Bartok, Aaron Copland, and Paul Hindemith. What you want for jazz is an easy-playing instrument, one that won't fight you. You might consider stretching exercises for your fingers, and maybe getting one of those grip master things as well. Classic case of better late than never. I wrote my music degree dissertation in 2012 about the differences between jazz and classical clarinet styles, comparing Shaw and Goodman's recordings of the first movement of Mozart's Clarinet Concerto. He was a supreme risk taker. It makes him go up in my estimation. Said another way, be as deeply influenced by the music and source material as you can be, and do your own transcription work.
A traditional jazz band set up includes a front line: a trumpet (or cornet), a clarinet (in contemporary ensembles, this position can be a tenor saxophonist who doubles on soprano saxophone and clarinet), a trombone and a tuba/sousaphone (or string bass). alternative fingerings .

There are a couple of isolated recordings of Warne Marsh and Lee Konitz playing Bach Two Part Inventions with jazz phrasing.

Int. Clarinetists in particular coming from a classical background invariably have difficulty learning jazz phrasing… One thing I noticed is how I slowly became an admirer of the AS sound and my admiration for BG became limited as my needs to b challenged by the music were being met by Artie. I have always loved jazz clarinet, though I don't play myself. And frequent breaks. Either way I'm ecstatic to have discovered this big band sound. The Improvising Clarinetist-Mark Sowlakis. 2a. A concept that I have developed and find very successful for training one’s ear, mind and fingers is something I call “Scale Merging.”  I define Scale Merging as transitioning from one scale to another scale, in this case moving from Major into Minor Scales, or visa versa, without stopping or hesitation. Have a listen to those if you want to hear how to apply a loose, swinging jazz feel to some timeless classical counterpoint. Agreed, Anonymous. From a historical perspective I think the following books are interesting and having been written by Hall Of Fame clarinetists I think they deserve a place in any serious jazz clarinetists library. alternative fingerings: There is no need to specify fingerings normally, so the use of alternative fingerings is generally left to the player. A “two to one” ratio is then achieved with respect to the swing eighths, if you get what I mean. I usually find it excrutiating to hear artists talk about their own work - just do it for gosh sakes and let your work speak for itself!Seriously though, some things lie beyond words or analysis - things you just do, that seem right to you. Art Pepper-The Life And Times Of A Swinging Saxophonist, Bob Mintzer-The Essence of Melody, And A Master of the Saxophone, Bobby Keys-A Rock And Roll Saxophone Icon, Clarinet and Saxophone Care, Maintenance and Repair, Clarinet/Saxophone Reed Care And Reed Maintenance, Clarinetist And Jazz Master Buddy DeFranco-A Yardbird Suite Transcription, Concerts At Villa Montalvo Arts Center-Saratoga, California, Edmond Hall-A Profoundly Blue New Orleans Clarinetist. Although some of what you will find contained here is rather dated, it is worth investigating this material to see how these Masters of the Clarinet organized their material and thinking: Artie Shaw’a Jazz Technic Book One, Scales and Book Two 14 Clarinet Etudes,, Hand in Hand With Hanon by Buddy De Franco. These Scales In Triplets are a step forward from the basic scales introduced at the beginning of this chapter. I’m new to the site. This journey through the history and technical challenges of the clarinet can provide the studious and curious young musician/clarinetist with enough food for thought to last a lifetime. It really impedes my technical ability.

A horn that is leaking will always be hard to play. The book should also serve as a starting point to begin to create your own exercises and linear concept, and move you forward in an “organic” natural way, as opposed to memorizing licks and patterns. different ways of fingering notes. II-V-I Patterns for Bb Clarinet (4.8 MiB, 1,098 hits)You do not have permission to download this file. My interest in the clarinet originated in my love of the New Orleans clarinet style, and continued with my classical work in academia. Practice this way of phrasing on any material that interests you, learn to apply it to some transcribed solos, and then finally implement it in your practice by learning solos note for note off classic recordings. The purpose of this book is to take intermediate level clarinetists, who have virtually no background with improvisation, and provide them with the tools to develop their ears, their technique, and their understanding of jazz harmony through the study of the the clarinet’s rich recorded legacy. Please either login or create an account first. Fingers have muscles, and the muscles need stretching and stuff. Major Scale Routine:Clarinet 2b. My studies included work with Warne Marsh, Joe Henderson, classical saxophone studies with Bill Trimble, Masters studies with former New York Philharmonic clarinetist Peter Simenauer, and sporadic lessons with Eddie Daniels and Ken Peplowski during my tenure in New York City as a graduate student. “Hi everyone. It is through my work with many talented young saxophonists and clarinetists, several of whom have gone on to scholarships and studies at Berklee and USC, that I’ve developed what I think is a unique way to work with young students eager to improvise. These 24 tonalities form the basis for another idea we will address down the road in more detail, something I call Basic Instrumental Technique, or simply B.I.T. Or guitarists. Ask pianists. There is a tendancy among jazz historians to inflate certain quips of Shaw's--like the one about Benny being concerned about the clarinet, while he was concerned with music. It makes him go up in my estimation. Mouthpiece Review: Vandoren B40 (c. 1991).