Texas Bandmasters Association
Bandmasters Review • June 2013
16
Hand Posi t ion
The clarinet should be held like one holds a flute;
the right hand should form a “C.” The right thumb
should be under the thumb rest at base of thumb nail.
Fingers should be close, curved, and relaxed. Use the
pads of the fingers—not the tips. The fingers should
never extend beyond the rings, in either direction.
Never rest the right index finger under the side
keys in order to support the instrument. This is a very
common problem in young clarinetists, and slows not
only the development of technique, but also prohibits
the use of the right hand for resonance fingerings
and pitch shading. Consider using a neck strap with
students, only after they have been playing for some
time, to help facilitate better right hand position.
The typical angle of the clarinet from the body
should be around thirty degrees. Adjust accordingly
from there, in or out, depending on sound, pitch, and
facility of the altissimo register.
Reed Placement and Care
The tip of the reed should be placed in line with
the tip of the mouthpiece. In order to extend reed life
and prevent warping, encourage a break in procedure.
Below are a few tips that I use in my own playing, as
well as with my students.
• Rotate reeds; use a different reed each time you
play or practice. 5-7 days is a typical break-in period
for a reed. In the first few days of use, reeds should
only be played for very short increments. Label reeds
with date started, or number them. Reeds will alter
with change in temperature, humidity, and age.
• Lay each reed flat on Plexiglas and rub the vamp
(top half) of the reed with your thumb vigorously
to seal the pores. Some prefer the use of 600-grit
sandpaper instead.
• Use a reed case for reed storage, not the plastic
holders the reeds are packaged in. I recommend the
Rico Reed Storage Case
, which holds eight of any size
reeds. Each slot is numbered, which is wonderful for
rotation, and the case utilizes a two-way humidity
control system to maintain a stable environment for
reeds when not in use.
• For myself and my students, I highly recommend
Rico Reserve Classic
reeds, which are remarkably
consistent, and flexible enough for both the concert
and marching arenas. They are available in half
strengths with special 3.5+ and 4.0+ strengths, which
allow you to move the student up in quarter strengths.
I recommend the following strengths, depending on
level:
q
Beginner: 2.5 to 3.0
q
Intermediate: 3.0 to 3.5
q
Advanced: 3.5+ and up
If the reed strength is too high (hard), the sound will
be fuzzy, airy, and the pitch sharp. If the reed strength
is too low (soft), the sound will be buzzy, spread, and
the pitch flat. The upper register will also not respond
well. For quick, subtle reed adjustments:
q
If the reed is too soft, raise the reed on the
mouthpiece.
q
If the reed is too hard, lower the reed on the
mouthpiece.
Tuning
“Open G” is the best note of the clarinet to begin the
tuning process with. For adjustment, pull out or push
in at the barrel. Next, tune a “third-space C” (C2),
to check the mid-range of the instrument. Pull out
or push in at the middle joint of the clarinet for this
adjustment. Tuning rings and different size barrels can
be used to help facilitate the tuning process.
Chromatic tuners should be used with all students
as they begin to play. They are wonderful tools as they
begin this important portion of their playing.
Upgrade Your Ensemble by Strengthening Your Clarinet Sect ion