Thanks, a colleague showed me this pattern about a year ago and it was in the middle of setting up for a rehearsal so I couldn’t quite understand it. Thanks for bringing it up and making a video about it.
A gift indeed! My brain almost boiled over as I was grasping the system (first play the scale from leading tone, then from root, and carrying the root over as next leading tone). The brain boil is always a safe indicator, that I am learning something new, so I actually crave for it 🙂 But I enjoy it the most, because it makes me z00m in on details in each scale that I sometimes neglect when I do the standard 2-3 octave run of a scale (which isn't musical at all). My best advise is to play this exercise eyes closed without the sheet in front of you. I want to train muscle memory here, not sight reading.
I have a lot of thoughts about how our minds work in as much as retain information and produce creative AND replicable results - it sounds like you do too, I am afraid if I made such videos it may kill my channel though - those types of videos do not perform particularly well! I suppose that's what the Dojo is for!
Thanks for the video! I find this way, as well as whole-tone modulating scales(e.g. regular g major, then g major flat 7, then flat 3, and then f major, and so on all the way down) the most fun and useful to play, really helps to polish smaller sections. Also, I'm starting to realize where my clarinet professor, who incidentally got his master's in flute, got this exercise from.
I think I'll add this to my routine in addition to the exercices from Jeanjean's vade-mecum (amongst others). I'll be working to up my technique level this summer (between seasons where I play), so thank you for the tip!
S is for sliver key (chromatic B/F#) SK is for side keys (chromatic F#) RL means to use right pinky on the C key while playing B or C#(Db) with the left pinky
Great technique practice! I was wondering how at the end of each "section" should be played as observed (skipping the 4th note), or would it be better to play the fourth note - Curious if it was served a practical purpose or if it was more to fit into the barline and still get that root note. Thanks!
If I am tracking the question right…the note left out allows for the pattern to get to the next tonic on the down beat and create the harmonic movement to do so. As far as taking breaths, I just hold the tonic that falls where I need the breath and restart on the same note
At best, all I could do is show how to compare one to the other, but I would not be able to show how to get exact numbers. As far as my experience tells me, that is something that takes tools and skills developed in a more niche part of the clarinet world than I reside.
I think scale routines that make you quickly shift between different keys are very useful for both physical and mental training. I don't ever recall seeing such things in clarinet methods, but see them in saxophone methods, which probably came from flute methods. I think such studies can make for good warmups, since they really help with finger balance and independence, and are particularly good for playing jazz or other kinds of music where you may have to play through a lot of different scales and keys in quick succession. However, this exercise is not a present for clarinet. It is hell. It is much harder to do this on clarinet than with sax (or probably flute).or
More ways… How about playing every scale on the 2nd note of the scale up and down 2 octaves, then the 3rd of the scale etc. How about 2 octave scales of every scale that has a 'C' in it starting on the ‘C’ for 2 octaves, then C#/Db etc. Scales in written music almost never start and end on their root.
that one is in my yet unreleased book as well. I had to do a lot of thinking about how to write it out the best way....I usually do all my scale practice without looking at music so I had to give it some thought
That's the way Howard Klug taught it, moving thru from the low E, and topping on the high G. I called them "Klugian" scales. For example, C major scale starting on low E, two octaves, two times up and down, 16th notes with metronome, then moving to starting on F, G, A (minor!), B, C, D, E (again, higher octave), F, and G. He did major and harmonic minor. The natural minor was always included when starting on the 6th of the major scale. We did not use music for this, and stuck to one scale a week, at least first time thru. After that, I stuck to one scale a day. And, he insisted on students watching in the mirror to make sure the embouchure was stable and not moving. He was an absolute stickler about 16-th note evenness as well. Looking in the mirror, I can also check finger position (curved not flat), and, knowing the scales well, think about good breath support as well.
Thanks, a colleague showed me this pattern about a year ago and it was in the middle of setting up for a rehearsal so I couldn’t quite understand it. Thanks for bringing it up and making a video about it.
I am glad it came back around to you ;)
Yeah men, that's the Taffanel's Daily Flute Exercises, great idea to implement it into the clarinet 🤘🤘
A gift indeed! My brain almost boiled over as I was grasping the system (first play the scale from leading tone, then from root, and carrying the root over as next leading tone). The brain boil is always a safe indicator, that I am learning something new, so I actually crave for it 🙂
But I enjoy it the most, because it makes me z00m in on details in each scale that I sometimes neglect when I do the standard 2-3 octave run of a scale (which isn't musical at all).
My best advise is to play this exercise eyes closed without the sheet in front of you. I want to train muscle memory here, not sight reading.
I have a lot of thoughts about how our minds work in as much as retain information and produce creative AND replicable results - it sounds like you do too, I am afraid if I made such videos it may kill my channel though - those types of videos do not perform particularly well! I suppose that's what the Dojo is for!
I've been enjoying your channel! Thanks for the great advice.
thanks for watching!
The ninja strikes again! Great video and camera work as well!
Thank you! Your compliment on my new effort with the two cameras made my day!
Thanks for the video! I find this way, as well as whole-tone modulating scales(e.g. regular g major, then g major flat 7, then flat 3, and then f major, and so on all the way down) the most fun and useful to play, really helps to polish smaller sections.
Also, I'm starting to realize where my clarinet professor, who incidentally got his master's in flute, got this exercise from.
thanks Eugene! there are alot of traditions that we can use to supplement our already robust scale tradition :)
I think I'll add this to my routine in addition to the exercices from Jeanjean's vade-mecum (amongst others). I'll be working to up my technique level this summer (between seasons where I play), so thank you for the tip!
the vade mecum is about as close to a perfect book that we have! I love that book
We need the minor version too :-) Tho that might not be crazy difficult to do on the fly just flatting the 3rd.
import the PDF into MuseScore then adjust as needed.
Thanks.
Nice video it was made very well
Thanks Simon!
Hi jay. Thank you for the exercises, but since English is not my native language (but Danish), could you please explain the letters: S, SK, L, RL.
S is for sliver key (chromatic B/F#) SK is for side keys (chromatic F#) RL means to use right pinky on the C key while playing B or C#(Db) with the left pinky
@@clarinetninja OK, Thanks
Great technique practice! I was wondering how at the end of each "section" should be played as observed (skipping the 4th note), or would it be better to play the fourth note - Curious if it was served a practical purpose or if it was more to fit into the barline and still get that root note. Thanks!
If I am tracking the question right…the note left out allows for the pattern to get to the next tonic on the down beat and create the harmonic movement to do so. As far as taking breaths, I just hold the tonic that falls where I need the breath and restart on the same note
Can you make a video showing us how to measure facing length and tip opening on mouthpieces?
At best, all I could do is show how to compare one to the other, but I would not be able to show how to get exact numbers. As far as my experience tells me, that is something that takes tools and skills developed in a more niche part of the clarinet world than I reside.
@@clarinetninja So, you can show as a way to understand if one mouthpiece has longer or shorter facing than the other one?
I think scale routines that make you quickly shift between different keys are very useful for both physical and mental training. I don't ever recall seeing such things in clarinet methods, but see them in saxophone methods, which probably came from flute methods. I think such studies can make for good warmups, since they really help with finger balance and independence, and are particularly good for playing jazz or other kinds of music where you may have to play through a lot of different scales and keys in quick succession.
However, this exercise is not a present for clarinet. It is hell. It is much harder to do this on clarinet than with sax (or probably flute).or
Thanks David! It's harder on the clarinet for sure - but thats the life we chose lol
More ways…
How about playing every scale on the 2nd note of the scale up and down 2 octaves, then the 3rd of the scale etc.
How about 2 octave scales of every scale that has a 'C' in it starting on the ‘C’ for 2 octaves, then C#/Db etc.
Scales in written music almost never start and end on their root.
that one is in my yet unreleased book as well. I had to do a lot of thinking about how to write it out the best way....I usually do all my scale practice without looking at music so I had to give it some thought
That's the way Howard Klug taught it, moving thru from the low E, and topping on the high G. I called them "Klugian" scales. For example, C major scale starting on low E, two octaves, two times up and down, 16th notes with metronome, then moving to starting on F, G, A (minor!), B, C, D, E (again, higher octave), F, and G. He did major and harmonic minor. The natural minor was always included when starting on the 6th of the major scale. We did not use music for this, and stuck to one scale a week, at least first time thru. After that, I stuck to one scale a day. And, he insisted on students watching in the mirror to make sure the embouchure was stable and not moving. He was an absolute stickler about 16-th note evenness as well. Looking in the mirror, I can also check finger position (curved not flat), and, knowing the scales well, think about good breath support as well.
I love you!!!!!!!!!!!!!!!!!!!!!! You are the best daddy ever!
I love you!!!!!!!!!! You are the best kiddo ever!
Hello Single Reed Bretheren......I am from the Planet Tenor Sax....and I come in peace. ☮
Welcome to our party:)
What kind of Barrel have you got there?
That’s the mopane adjustable barrel from Brad Behn that is from last months video:)
Not until the 29th of May
I got there in a nic of time! happy birthday Wednesday!
Thank you!☺️