Clari-nerd page

Recommended stuff

Studies and etudes

Complete Method for Clarinet Third Division - C. Baermann (Fischer Edition)
Complete Method for the Clarinet Part III - Gustave Langenus (Fischer)
Rose 40 Studies and 32 Etudes
Klose
Cavallini Caprices
Uhl Etudes

Orchestral

The Working Clarinetist - Peter Hadcock
Clarinetist's Compendium - Daniel Bonade

Books

The Single Reed Adjustment Manual - Fred Ormand
Embouchure Building for Clarinetists - Larry Guy

Audio

The Legacy of Daniel Bonade - Boston Records #BR1048CD
The Artistry of Ralph McLane - Boston Records #BR1067CD
Clarinet Concert No. 5 - Harold Wright - Boston Records (includes Mozart Concerto with BSO/Ozawa)

Useful websites and links

http://www.osbornmusic.com/education.html
http://www.richiehawley.com/artist.php?view=news&nid=1553
http://www.clarinetcache.com/2008/06/ted-oien-masterclasses-on-orchestral.html
http://www.clarinetxpress.com/bassadvice.html
http://curiousclarinetist.blogspot.com/2012/09/masterclass-with-robert-marcellus-audio.html
http://www.clarinetcache.com/

Warm up

For a while I was practicing 4-5 hours a day and used this entire warmup. If you do it all it takes about an hour -- at which point you'd need to rest before continuing your session!

1. Long tones and intonation training
2. Baermann Scales, Thirds and Arpeggios (alternate Maj/Min)
3. Articulation: Osbon's tonguing warm-up (mm. 144), Langenus staccato studies (#11,12,13)
4. Crescendo/Diminuendo pattern or long tone 

However you go about it, you should have something based on long-tones, articulation, and scales.

A word about clarinets

Not that anyone asked, but I play a pair of Yamaha CSGs with a Vandoren M13, which was recently resurfaced by Walter Grabner, along with Vandoren V12 3.5 reeds, usually. The professional Yamaha horns are good value for money (i.e. they're very cheap). However, my next set of horns will be Buffet R13s or an nicer model if I can afford it.


I was talking with Linda Brannen in Chicago a year ago or so and she said that today's horns are much better than those used 30 years ago. That is, the mechanisms are improved, intonation is vastly improved, response and so on. Furthermore, she said that Robert Marcellus during his time in Cleveland Orchestra never had his horns (R13s) overhauled! Now it's not as if Marcellus, Bonade or anyone else for that matter didn't use the best instruments, reeds and mouthpieces they could find -- they did! The lesson is to search for the best equipment you can while never forgetting that you are responsible for producing the sound you want.