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Anthology of Clarinet Pedagogical Resources

Articulation
Budde, Paul Josephe. " An Analysis of Methods for Teaching Middle School
Band Students to Articulate." University of Minnesota, 2011.
This dissertation looks at different methods to effectively teaching
articulation to young students. The author finds conclusive evidence
that language plays an integral role in the ability to grasp articulation
concepts. It is a good suggestion to realize certain students need to
have their lessons modified to fit their specific cultural needs rather
than focus all teachings on traditional methods.
Goddard, Ronald Herbert. An Investigation of Two Clarinet Tonguing
Techniques. D.M.A., Arizona State University, 1987.
This study looks at two different types of clarinet tonguing techniques:
tip-to-tip tonguing and anchor tonguing. Goddard explores the tone
quality differences between the two techniques. He emphasizes that a
student's physical make-up have much to do with students' success in
each of the techniques. This dissertation challenges the notion that
traditional tip-to-tip tonguing should be the only teachable method.
Guy, Larry. "The Pedagogy Corner: Setting the Stage for Articulation Speed."
The Clarinet 39, no. 1 (December 2011): 24-27. Accessed February 8, 2016.
This article is Larry Guys teachings on how to increase articulation
speed. Guy discusses multiple scale exercises with written examples
on how to proceed with them. He outlines how he increased his
articulation speed through short anecdotes throughout the article. He
discusses using the ha breath to take in the most air in a second.
Breathing
Pino, David. "The Clarinet Teaching of Keith Stein Part Four: Breathing and
Breath Control." The Clarinet 30, no. 4 (September 2003). 38-41.
Accessed January 22, 2016.
This article discusses Keith Steins thoughts on breath control. David
Pino first outlines the wind pipe and how to clear any tension. He then
discusses the mechanics of breathing and specific exercises to improve
lung capacity and abdominal support. He last discusses breath
technique when applied to clarinet playing.
Tone/Embouchure

Anthology of Clarinet Pedagogical Resources

Backus, John. The Clarinet Reed and Its Relation to the Clarinet
Mouthpiece. The Journal of the Acoustical Society of America 64, no.
S1 (November 1, 1978): S17071.
This study explores the relationship between the cane reed and the
shape of different clarinet mouthpieces. There is a tone difference in
reeds that are not shaped to properly fit a mouthpiece, as found by this
study. It is a good read to learn more about different mouthpieces and
a good argument for shaping reeds.
Bonetti, Ruth. "Embouchure Repairs: A Saga of Crumpled Chins, Collapsed
Jaws and Buckled Lips." The Clarinet 29, no. 2 (March 2002). Accessed
January 22, 2016.
Ruth Bonetti's article provides really great insight in how to teach the
clarinet embouchure. She approaches the subject with a summary of
why students may be frightened and/or confused by the clarinet
embouchure through the eyes of a student. She then provides a really
clear example of how to slowly and efficiently coax a student to form
the correct embouchure without overwhelming the student with
unnecessary jargon and over-explanations.
Enloe, Loraine Davis. The Effects of Clarinet Embouchure on Band Director
Tone Quality Preferences. Ph.D., The University of North Carolina at
Greensboro, 2007.
This article discusses an interesting study to compare the smile
embouchure versus the "oo" embouchure. The study found conclusive
evidence that the smile embouchure emphasizes higher overtones and
therefore produces a brighter tone quality. The "oo" embouchure in
contrast produces a much darker tone. Band directors were
interviewed and displayed a preference for the "oo" embouchure and
tone.
Guy, Larry. Embouchure Building for Clarinetists. 3rd edition. Rivernote Press,
2001.
Larry Guy presents this book as a workbook for clarinetists looking to
improve their grasp on their embouchure and tone. The book contains
many of the teachings of Daniel Bonade, a highly influential clarinet
teacher of the past. There are many exercises that are provided along
with precise explanation of how to utilize them. Breath support is one
of the bigger sections in this book.

Anthology of Clarinet Pedagogical Resources

Webster, Michael. "Teaching Clarinet: Partial to Partials." The Clarinet 30, no.
3 (June 2003): 12-16. Accessed February 8, 2016.
In this article, Webster discusses the harmonic overtone series in
relation to learning to play the 5th partials (the 2nd break). He discusses
with examples the overtone series and how it mathematically works.
He then provides example exercises to finding the 5th partial through
playing the fundamental note, adding the register key, and then lifting
the top index finger off the clarinet.

Finger Technique
Guy, Larry. Hand & Finger Development for Clarinetists. Rivernote Press,
2007.
Larry Guy once again presents another highly detailed workbook for
clarinetists looking to improve their finger technique. Through
illustrations and text, Guy leads the reader through many hand
exercises in the beginning of the book to begin strengthening and
stretching the muscles of the hands and fingers. Then, Guy provides
many great exercises and explanations on finger work with the
clarinet. This is a good resource for advancing students looking to
further hone their skills on the clarinet.
Nygren, Dennis. "Achieving Efficient Clarinet Technique." The Clarinet 42, no.
1 (December 2014): 34-40. Accessed February 7, 2016.
This article overviews proper hand position and finger technique.
Nygren explains the importance of correct finger positions to achieve
effortless finger movement. He provides pictures and exercise
examples that are good for practicing proper finger motion. He
discusses in detail using the pinky keys, fork fingerings, sliver fingers
cross-fingerings and one-on-one fingerings for Eb and Bb.
Pino, David. "The Clarinet Teaching of Keith Stein Part Two: The Embouchure."
The Clarinet 30, no. 1 (December 2002). Accessed January 22, 2016.
In this article, David Pino attempts to re-create the teachings of Keith
Stein in regards to embouchure formation and upkeep. He outlines
three steps to begin understanding the jaw arrangement, mouthpiece
placement and the upper lip. He then outlines five more steps that go

Anthology of Clarinet Pedagogical Resources

into more fine detail of embouchure formation and ultimately starting a
note.
Webster, Michael. "Teaching Clarinet." The Clarinet 42, no. 1 (December
2014): 8-9. Accessed February 7, 2016.
In this article, Michael Webster discusses the function of the left hand
and right hand thumb. He suggests that the left hand should learn to
help support the clarinet so that the right thumb does not do all the
work. He provides many short excerpts to try out holding the clarinet
with just the left hand.
Webster, Michael. "Gaining Speed (A New Kind of Interval Training)." The
Clarinet 29, no. 4 (September 2002): 12-16. Accessed January 22, 2016.
In this article, Webster discusses how a musicians training should be
very similar to the way a long distance runner trains. He explains that
a long-distance runner doesnt gradually increase speed and distance
over time. What they do is have sprint days where they go harder and
faster for a shorter period of time and then the opposite days are
pacing days where endurance is what is being trained. Musicians need
to train both for speedy finger technique and endurance and so
Webster suggests finger sprints to work on as a warm up.
Webster, Michael. "Teaching Clarinet: Beyond Baermann (Part 2)." The
Clarinet 41, no. 4 (June 2014): 4-6. Accessed February 8, 2016.
This article is an overview of the Baermann scales. In this article,
Webster suggests different ways to use these scales to spice up the
practice session or lesson. He discusses using different octaves,
different articulations and more.
Musicality
Bianca, Peter Michael. The Clarinetist as Vocalist: Transcriptions of Mozart
Arias to Teach Lyricism. D.M.A., University of Miami, 2013.
This thesis discusses the benefits of learning opera arias to teach
lyricism. Clarinetists are pressured to study technique more than
anything while sacrificing sufficient study on tone and musicality.
Bianca provides numerous Mozart arias and explains how to teach and
play each one. This way, the clarinetist can hope to achieve the same
beauty and expressiveness of opera singers.
Luevano, Kimberly Cole. "The Pedagogy Corner: Mitchell Lurie, Part 1." The
Clarinet 41, no. 4 (June 2014): 16-18. Accessed February 8, 2016.

Anthology of Clarinet Pedagogical Resources

This article is an excellent read on Mitchell Luries ideas about
musicianship, phrasing and breathing. This would be a great resource
for the clarinet teacher to expand their teaching principles. It offers an
interviews with some of Mitchell Luries students.
Mathis, Donald R. Unleashing Musicality through Melodic Deflection.Journal
of Singing 72, no. 2 (December 2015): 17181.
This article is an overview of how singers focus on phrasing by
implementing deflections to melody. A discussion of syllables and the
way they interact with the musical line are of utmost importance to the
author. This is geared towards singers, but it would be an interesting
read to incorporate some of the techniques into instrumental music.
Ruddock, Eve. Sort of in Your Blood: Inherent Musicality Survives Cultural
Judgement. Research Studies in Music Education 34, no. 2 (December
1, 2012): 20721. doi:10.1177/1321103X12461747.
This article is an interesting look into many perceived 'non-musical'
people. Through study and interviews, it was found that even though
the individuals didn't believe they were musically inclined, the findings
suggested that the individuals actually had intrinsic musical ability.
The study is an interesting look into what makes people musical. There
is a lot of correlation between musical parents and musical children.
However, the study suggests that everyone is inherently musical. It all
depends on how the child is brought up and taught in regards to music.
Sigel, Allen R. The Search for Expressiveness in Instrumental
Performance.Music Educators Journal 53, no. 2 (1966): 6568.
This article focuses on the argument that music educators need to
teach musicality just as much as technique. Sigel discusses that the
meaning of the pieces can be found through the learning of the piece
and once it is found, the instrumentalist or vocalist will be able to
thoroughly immerse themselves in the music. He argues that 20th
century music is highly applicable as well to pedagogues because
much is being written. Sigel discusses how studio teachers need to
embrace new music and help students learn musicality skills in order
to succeed in the music world.
Rhythm

Anthology of Clarinet Pedagogical Resources

Colin, Charles, and Bugs Bower. Rhythms Complete. Charles Colin Music,
1975.
This rhythm etude book is filled with many short pieces to practice
different rhythms. Before each short piece, a simplified rhythm is
shown with arrows indicated the upbeats and downbeats. The piece
that follows is based on the simple rhythm with the addition of
syncopation. This book would be great to further the knowledge of
intermediate students who already have a good grasp on the basics of
rhythm.
Garner, Paul. "Metronome Studies for Developing Musicianship." The Clarinet
30, no. 4 (September 2003). 80-84. Accessed January 22, 2016.
This article is a discussion on how to improve a students sense of time
and rhythm. Specific examples are given for use with a metronome to
improve these skills. The studies go over simple subdivision, removing
strong beats on every beat, rhythmic displacement and how to make
off-beats flow.

Starer, Robert. Rhythmic Training. MCA Music Publishing: Hal Leonard, 1985.
Robert Starer provides the reader with a succession of rhythmic
exercises that are separated by chapters that go over certain rhythmic
situations. The exercises are all provided with clear subdivisions
written in under the more complicated rhythm to help the student
realize how the rhythm is put together. This book would be a great tool
to help beginning students better grasp rhythm.
Whaley, Garwood. Basics in Rhythm. PAP/COM edition. Galesville, MD.;
Milwaukee, WI: Meredith Music, 2003
Garwood Whaley provides the reader with a simple book of rhythms for
the beginning student. The book is set up in units that increase in
difficulty. Beginning with the very basics, each unit first shows how to
break down the rhythms and then provides numerous exercises to
practice. This book should prove to be very useful to students who
lack a basic knowledge of rhythm.
Webster, Michael. "Teaching Clarinet: Mix and Match." The Clarinet 41, no. 1
(December 2013). 10-13. Accessed February 8, 2016.
This article by Michael Webster discusses how to approach mixed
meter changes. He focuses mainly on provided numerous repertoire

Anthology of Clarinet Pedagogical Resources

that deals with mixed meter and meter changes. He emphasizes that
leisurely is the way to go when just beginning to learn how to deal
with meter changes. He mostly discusses using a quarter note pulse
and 5/4 and 3/2 meters.
Webster, Michael. Teaching Clarinet: Mix and Match (Part 2) The Clarinet
41, no. 2 (March 2014). 8-12. Accessed February 8, 2016.
This article is a continuation of Websters previous article, Mix and
Match. In this article, he expands upon the mixed meter problem with
introducing the eighth note pulse. He mainly discusses 6/8, 8/8, 2/4,
9/8 and switching between them with use of repertoire.
Repertoire/Excerpts
Austermann, Kelly. A Supplemental Repertoire List for the Development of
Fundamental Skills in Pre-Collegiate Clarinetists. D.M.A., Arizona State
University, 2014.
This study discusses the problem of teaching pre-collegiate clarinetists
the fundamentals and repertoire they need to succeed without
sacrificing one teaching for the other based on the time crunch usually
presented. Kelly sorts the repertoire list into categories. These are:
embouchure, expanding the range into the clarion and altissimo
registers, articulation, breathing, intonation, finger technique, and
musicality. The pieces in each category would allow a teacher to
simultaneously teach the repertoire and the specific skill it embodies.
Baron, Benjamin, and Mark Nuccio. The Audition Method For Clarinet: Volume
I. 1st ed. Vol. I. GIA Pubns, 2014.
Benjamin Baron and Mark Nuccio have provided educators with an
extremely straightforward edition of standard orchestral clarinet
repertoire and teachings. The book divides excerpts into three
sections. The first being the original part as shown. The second
section is broken down and explained with many markings on the
interpretation and style of the piece. The third section is a provided
part with the markings from section two to take into an audition.
Bourque, David. "My Thoughts on Better Orchestral Preparation for Wind
Players." The Clarinet 40, no. 2 (March 2013): 65-67. Accessed January 22,
2016.
This article offers professional insight on how to better prepare for
orchestral auditions. The author suggests marking parts excessively,
tuning, balancing between first and second parts, and studying the

Anthology of Clarinet Pedagogical Resources

score. For those teachers with aspiring orchestral students, this is a
great resource.
Craig, Karen Lynn. Larry Combs: Interpretation of the Clarinet Symphonic
Audition Repertoire. D.M.A., The University of Oklahoma, 1993.
This document is much like Larry Combs' book, "The Working
Clarinetist" but it has so much more information. This book includes
reference materials for many different orchestral excerpts presented
with Larry Combs personal interpretation and teaching of them through
interview lessons with Combs. A biography of Combs and a
discography of Combs playing with the Chicago Symphony Orchestra
are included plus some other tidbits of information.
Hadcock, Peter. The Working Clarinetist. 1st ed. Roncorp Pubns, 1999.
This workbook is an excellent source for orchestral repertoire. Peter
Hadcock provides valuable insight into many standard clarinet
excerpts. This book is invaluable to the college clarinet student and
teacher.
McKinney, Shannon L. Wind Band Music for Clarinet: An Excerpt Guide.
D.M.A., University of Miami, 2014.
This dissertation is much like an orchestral excerpt book, except with
wind band literature instead. This is a great resource for both students
and teachers. It provides excerpts for many different prominent wind
band literature with ways to study and interpretations of the pieces.
Plotkin, Mara. The Interpretation of Orchestral Ballet Excerpts for Clarinet.
D.M.A., University of Toronto (Canada), 2015.
This dissertation is a look at five ballets: Pyotr Ilyich Tchaikovsky's
Swan Lake , The Sleeping Beauty , The Nutcracker , and Sergei
Prokofiev's Romeo and Juliet , and Cinderella. Included with each ballet
excerpts are discussions from multiple different professional
clarinetists on their own interpretations and suggestions for learning
the exerpts. This is a great beginning resource for the clarinetist
looking to pursue a professional performance career.
Squire, Alan Paul. An Annotated Bibliography of Written Material Pertinent to
the Performance of Woodwind Chamber Music. Educat.D., University
of Illinois at Urbana-Champaign, 1960.
This dissertation is a discussion about woodwind chamber music
included with an exhaustive annotated bibliography of such music.

Anthology of Clarinet Pedagogical Resources

The author discusses the history of woodwind chamber music, the
acoustical playing characteristics of woodwind instruments, musical
interpretations of the chamber music, ensemble rehearsal and
performance practices, and more. This is a great resource for the
teacher looking to expand their students' knowledge of repertoire.
Method/Etude Books
Ebert, Brian Thomas. Integrated Exercises for Clarinet and Bass Clarinet.
D.A., University of Northern Colorado, 2012.
This dissertation is meant to be used as a study tool for a doubler on
soprano and bass clarinet. Ebert provides long tones, altissimo
register exercises, specific bass clarinet exercises, pattern exercises in
every key, interval studies, fingering rubrics, and repertoire that
demand doubling on soprano and bass clarinet.
Johnson, Kelly. "Clarinet Etude Books for the College Undergraduate." The
Clarinet 29, no. 3 (June 2002): 46-49. Accessed January 22, 2016.
Kelly Johnson compiled an gigantic list of etude books covering all the
different techniques of the clarinet. This article from The Clarinet
journal is an excellent starting point for finding etude books for
students. The etudes are neatly sorted by different techniques that are
covered by the etude books. Johnson also lists the favorite etude
books of prominent clarinet teachers.
Renander, Cindy. A Reference Guide to Beginning Clarinet Methods. D.M.,
The Florida State University, 2008.
This thesis is to be used as a reference guide to teachers for use to
teach beginning clarinetists. The guide lists many different method
books that are appropriate for different problems associated with
teaching beginning clarinet methods. This would be a very useful tool
for beginning teachers to refer to when presented with a technique
problem they cannot remember how to fix.
Contemporary Techniques
Caravan, Ronald L. Preliminary Exercises & Etudes in Contemporary
Techniques for Clarinet. Ethos Publications, 1979.
Ronald Caravan wrote this book to assist the clarinetist with the
increasing demand for contemporary techniques in musical literature.

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The book walks through timbre variations, quarter tones, multiphonics,
and the concept of humming while playing the clarinet. The book
comes with clearly notated fingerings for each section and contains
many short etudes to practice the new techniques.
Caravan, Ronald. Polychromatic Diversions for Clarinet. Louisville Music
Company, January 1414, 2011.
Caravan provides the clarinetist with a contemporary etude book to
further practice and utilize the new techniques discussed in his book
"Preliminary Exercises & Etudes in Contemporary Techniques for
Clarinet." This etude book contains 10 etudes that combine
multiphonics, quarter tones and timbre variations.
Chen, Jer-Ming, John Smith, and Joe Wolfe. Pitch Bending and Glissandi on
the Clarinet: Roles of the Vocal Tract and Partial Tone Hole Closure.The
Journal of the Acoustical Society of America 126, no. 3 (September 1,
2009): 151120.
This study explores the role of the vocal tract and the use of partial
tone hole closure while pitch bending on the clarinet. The findings are
especially exciting in regards to the vocal tracts. The findings suggest
that in order to produce smooth glissandos, the vocal tract sounding
frequency must match the notes being bent. Matching these
frequencies and combining sliding the fingers off the keys results in a
flawless glissando.
Farmer, Gerald. MULTIPHONICS and Other Contemporary Clarinet Techniques.
Shall-u-mo Publications, 1982.
Gerald Farmer's book is a very highly detailed look at all aspects of
contemporary clarinet techniques. He split the book into five sections:
historical backgrounds of new clarinet techniques, performing
multiphonics, multiphonic fingering charts, multiphonic trill and
tremolo charts, and other contemporary techniques. The techniques
he covers in the last section include microtones, vibrato, glissandos,
portamento, pitch bends, timbre trills, harmonics, flutter tongue,
smorzato, slap tongue, air sounds, percussive effects, lip buzz and
more! It is an excellent book to delve into new techniques.
Gardner, Joshua Thomas. Ultrasonographic Investigation of Clarinet Multiple
Articulation. D.M.A., Arizona State University, 2010.
Joshua Gardener presents in this dissertation a fascinating view of how
the tongue works during articulation. It is an introductory study that

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Gardner hopes will spark interest in further study. He discusses how
there is a relationship between articulation and speech tongue
performance. Gardner shows this by using ultrasound to see inside the
mouth. This could be helpful reading to better understand how the
tongue works.
Spring, Robert. Circular Breathing: A Method. Windplayer Publications, 2006.
This book is a great pedagogical resource for learning how to circular
breathe. The book provides two different methods for learning the
technique, the first taught by Robert Spring and the second taught by
Jeffrey Lyman. After the well-thought out explanations, the book
provides specific exercises for each different wind instrument.
General Clarinet Pedagogue Masters' Teachings
Bonetti, Ruth. Practice Is a Dirty Word: How to Clean up Your Act. 4th Revised
ed. Words and Music, 2001.
This book by Ruth Bonetti is a different approach to getting lazy
students to practice. She uses this book to find options for students to
practice effectively so that they dont become discouraged. It is a
great resource for teachers of older students.
Brymer, Jack. Clarinet. London: Kahn & Averill Publishers, 2001.
Jack Brymer discusses every aspect of the clarinet in his book, Clarinet.
He draws upon his many years of personal experience as a soloist and
principal clarinetist to provide well-thought out insights on the history
of the clarinet, acoustic characteristics and how to correctly finger
certain notes, care and maintenance, how to develop technique, the
difference in the national clarinet schools of thought and reeds. He
also devotes an entire 30+ pages to clarinet pedagogical techniques.
Gingras, Michele. Clarinet Secrets: 52 Performance Strategies for the
Advanced Clarinetist. Revised edition. Lanham, Md: Scarecrow Press, 2006.
Michele Gingras provides 52 concise tips on clarinet performance and
other techniques. Each of the 52 concepts presented in the book are
thoroughly explained and illustrated. An accompanying CD is provided
to reinforce the concepts to be learned. Gingras discusses everything,
from reed maintenance and career planning to circular breathing and
orchestral repertoire and much more. It is a great handbook for
reference and for steadily improving clarinet technique.

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. More Clarinet Secrets: 100 Quick Tips for the Advanced Clarinetist.
48839th edition. Lanham, Md: Scarecrow Press, 2011.
This book is the sequel to "52 Performance Strategies for the Advanced
Clarinetist" which Gingras wrote earlier. Gingras once again provides
the reader with concise and well-explained tips on all aspects of the
clarinet. She splits the book into eight sections: technique, tone and
intonation, musicianship, reeds and equipment, repertoire, musician's
health, music profession, and extra tips! This book, along with her
previous 52 tips, are excellent resources to carry around.
Klickstein, Gerald. The Musician's Way. New York: Oxford University Press,
2009.
Gerald Klickstein converses with the reader on how to become a better
musician. He divides the book into three big sections: Artful Practice,
Fearless Performance, and Lifelong Creativity. The first section, Artful
Practice, provides insight into becoming organized and practicing
deeply. Fearless Performance goes over performance anxiety and
becoming a performing artist. Lifelong Creativity discusses injury
prevention and how to succeed as a student.
Klug, Howard. The Clarinet Doctor. Woodwindiana, 1997.
Howard Klug presents his teaching philosophy in his book The Clarinet
Doctor. He begins the book with an overview of an example of
undergraduate clarinet curriculum split into the four different years of
study (freshman, sophomore, junior, senior). He provides pieces
appropriate for each level. The bulk of Part 1 contains scale studies,
arpeggios, articulation patterns, and all technical aspects a clarinetist
must develop. Part 2 focuses on how to teach the clarinet. It goes over
embouchure, breathing, posture, tonguing tips, squeaks, tips for
private teaching, bass clarinet work, orchestra audition prep,
musicality and has an annotated list of pre-college clarinet solos sorted
by era.
Luevano, Kimberly Cole. "The Pedagogy Corner: The Historical Pedagogue."
The Clarinet 40, no. 1 (December 2012): 28-31. Accessed February 8, 2016.
This article is a look into Robert Marcellus clarinet teachings. The
author, through interviews with Marcellus, outlines his teachings. The
topics discussed are air support, embouchure, the oral cavity, and
tonal development.

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Luevano, Kimberly Cole. "The Pedagogy Corner: The Historical Pedagogue
Robert Marcellus, Part 2." The Clarinet 40, no. 2 (March 2013): 30-34.
Accessed February 8, 2016.
This article is a continuation of the previous article on Robert Marcellus
clarinet teachings. In this article, the author discusses technical
development, legato concepts, preparing fingers, articulation, the
coordination of finger and tongue, and phrasing.
Nunemaker, Richard. The Effortless Clarinet. Richard Nunemaker, 2006.
Richard Nunemaker provides the reader with a great little handbook to
follow that is simple and easy to understand. Nunemakers concepts
revolve around playing effortlessly and naturally, which is a trait
teachers should strive to teach their students. He provides such
concepts as how to hold the clarinet, breathing and his learning
diamond which explains how to play effortlessly rather than not.
Pino, David. The Clarinet and Clarinet Playing. Mineola, N.Y: Dover
Publications, 1998.
In Pinos book, he devotes an entire chapter to teaching the clarinet.
These pages (124-152, are an excellent resource to read to understand
better how to teach. After this section, Pino provides details on how to
deal with reeds. He discusses reed adjustment, and also an entire
section on how to make your own reeds.
Ridenour, Thomas. The Educators Guide to the Clarinet. 2nd edition.
Duncanville, TX: T. Ridenour, 2002.
Thomas Ridenour has written a book that rivals Keith Steins The Art
of Clarinet Playing. He writes in a conversationalist style to discuss in
part I how to teach every aspect of clarinet playing. He provides much
needed, valuable and simple insight into the clarinet that is helpful for
every clarinetist, teacher, performer or otherwise. In part II, he goes
over how to select a clarinet, all about mouthpieces, the fundamentals
of reed balancing, clarinet care and maintenance and accessories for
the clarinet.
Stein, Keith. The Art of Clarinet Playing. Princeton, N.J.: Alfred Music, 1994.
Stein wrote this book with all of his numerous years of teaching
experience behind him. The book has wonderful insights into all
aspects of the clarinet. In particular, pg. 35-37 provide excellent
advice on intonation. In these couple pages, Stein discusses

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overtones, tolerance tendencies and the importance of having a
flexible embouchure. Pgs. 62-71 is a list of suggested literature for the
clarinet. Just those pages alone are an excellent resource for the
clarinet player.
Performance Health
Belcher, David E. Fatigue and Recovery Patterns of the Mouth Muscles Used
to Play the Clarinet. D.M.A., The University of Oklahoma, 2004.
This is a fascinating study on the fatigue of embouchure muscles that
are used for clarinet playing. Belcher studied how rest days can
improve endurance for muscles. He compares athletic training
discipline to how musicians should discipline their own practice
schedules.
Conable, Barbara. How to Learn the Alexander Technique: A Manual for
Student/ Revised edition. Andover Press, 1995.
Barbara Conable provides her readers with an excellent beginning
explanation of Alexander Technique. This book was designed to be
used to teach Alexander Technique and so it is highly detailed.
Conable covers all the basic areas of Alexander Technique and Body
Mapping and provides illustrations to ease teaching and learning the
techniques discussed.
Druhan, Mary Alice. Dont Give Me Daphnis: An Injury Recovery Guide for
Clarinetists." The Clarinet 42, no. 1 (December 2014): 81-83. Accessed
February 7, 2016.
This article is a good guide for how to effectively care for an injury from
a musical career. The article overviews how to choose a doctor, what
to do when you go to the doctor, how to evaluate musculoskeletal
injuries, and brief outlines of many conditions musicians suffer from.
Green, Barry, and W. Timothy Gallwey. The Inner Game of Music. 1st edition.
Garden City, N.Y: Doubleday, 1986.
Barry Green and Timothy Gallwey explain in this book how the mind
works in relation to learning. They discuss the concept of natural
learning, a technique where the student learns by simply figuring it
out themselves rather than relying on a teacher to help them
understand. The authors believe that if a student really takes learning
into their own hands, learning will be faster and more productive. The

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authors discuss such topics as ensemble playing, improvisation,
composition, creativity and listening skills. This book is ideal for
teachers to understand how to enhance their students learning
capabilities to nurture students natural skills.
Greene, Don. Performance Success: Performing Your Best Under Pressure.
1st edition. New York: Routledge, 2001.
Don Greene is provides a straightforward workbook for the musician
struggling with crippling performance anxiety. The workbook begins
with a quiz to identify the major weaknesses of the reader and then
goes on to explain how to fix the problems. There are seven skills that
Greene teaches the reader. Each skill is explained in its own chapter
with many exercises to complete. Accompanied by numerous quotes
from famous people, Greene explains the concepts in a very easy-tounderstand way. This book is life-changing for the serious musician.
Horvath, Janet. Playing Less Hurt: An Injury Prevention Guide for Musicians.
New York: Hal Leonard, 2010.
"Playing Less Hurt" is full of information about how to prevent injuries
in musicians. Janet Horvath provides explanations through personal
anecdotes and medical information on the plight of injuries in
musicians and what to do about it. She provides many illustrations as
well as resource list of any and all things related to caring for your
body. Horvath approaches such topics as specific medical conditions,
restorative and preventative approaches, what to do when you are
hurt, instrument modifications, the teacher-student dynamic and more.
This book is great insight into taking better care of yourself as a
musician and a good tool for educators in looking out for their
students' well-being.
Langer, Ellen J. The Power of Mindful Learning. 1 edition. Reading, Mass.: Da
Capo Press, 1998.
Ellen Langer in this book introduces how to use mindfulness to
enhance how we learn as individuals. She provides examples of her
use of mindful, conditional learning to demonstrate how it can be
extremely effective. Langer provides the reader with excellent advice
on how to harness the mind in order to better learn and apply those
skills to everyday life as well as in playing a musical instrument and
other specific careers.

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Maisel, Eric. Performance Anxiety by Maisel, Eric (2005) Paperback. Back
Stage Books, 1700.
This book written by Eric Maisel is a workbook for people interested in
improving their lives as performers. The book encourages the reader
to contemplate themselves and journal about their experiences in
order to come into a deeper understanding of how their brain works.
Through many of these exercises, Maisel helps the reader learn
techniques to ease performance anxiety and ultimately understand
oneself in the process.
Murphy, Shane. The Achievement Zone: An Eight-Step Guide to Peak
Performance. New York: Berkley Trade, 1997.
Shane Murphy wrote this book to help people realize their peak
performance potential in all areas of life. He divides the book into
eight different skills he believes are the key to success. Those eight
skills are thoroughly discussed and explained through examples and
anecdotes that are accompanied by exercises to try out. The book is
very easy to understand. It would be a great resource for the students
who want to succeed but don't know how.
Olson, Mia. Musicians Yoga: A Guide To Practice Performance And Inspiration.
Boston, MA: Berklee Press, 2009.
This book by Mia Olson is a great pedagogical resource to help
students become more aware of their bodies in order to prevent injury
and also to help them become better musicians. Through yoga, Olson
explains how yoga postures can concentrate the mind, allow for ease
of movement, encourage good posture and strengthen the mind-body
connection. She discusses meditation and breathing techniques as
well.
Paull, Barbara, and Christine Harrison. The Athletic Musician: A Guide to
Playing Without Pain. 1st edition. Lanham, Md: Scarecrow Press, 1999.
This book is a great study tool for educators. The beginning section
has an overview of the problem of musician's injuries and the difficulty
in diagnosing them. Part II contains many illustrations that show the
anatomy of the body in small sections that are thoroughly explained.
Part III argues that musicians should be treated like athletes and goes
over ergonomics, stretches, good practice habits and the hazards of
teaching. This book provides many good medical explanations and
would be highly useful to teachers.

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Anthology of Clarinet Pedagogical Resources

Reardon, Jackie, and Hans Dekkers. Mindset: A Mental Guide for Sport.
Amsterdam: Mindset Publishers, 2010.
This book focuses on changing the mindset of the reader in order to
have a better, more positive outlook on life. The book focuses on the
difference of action-thinking versus story-thinking. Action-thinking
means being in the zone and being productive. Story-thinking means
over-analyzing and being negative. The authors discuss picking a good
coach, having passion and how to create a personal success plan.
Wilso, Heston L., M.D. "Ring On! The Story of Tinnitus." The Clarinet 29, no. 2
(March 2002): 56-59. Accessed January 22, 2016.
This article discusses in detail the perils of everyday noises and how
they affect the ear drums. The author lists certain examples of loud
noises with how much time it takes to cause damage to the ears. He
then discusses how to prevent hearing loss and how to treat hearing
loss.
Bass Clarinet
Bourque, David. "The Bass Clarinetists Workbook: Some Thoughts on
Orchestral Bass Clarinet Playing." The Clarinet 41, no. 2 (March 2014).
64-65. Accessed February 8, 2016.
This article discusses some insightful thoughts on orchestral bass
clarinet playing. Bourque discusses how to have a successful
orchestral audition and how to successfully play in an orchestral wind
section. He discusses that clarity is the key to fine low reed playing.
Hayter, William. "Bass Clarinet Solos for Students." The Clarinet 41, no. 4
(September 2014): 82-86. Accessed February 8, 2016.
This article discusses solo repertoire for the bass clarinet student. The
author lists repertoire for pieces requiring low C and piano, pieces
without low c and piano, unaccompanied pieces requiring low c and
also unaccompanied pieces without low c.
Iles, Jennifer Beth. The Changing Role of the Bass Clarinet: Support for Its
Integration into the Modern Clarinet Studio. D.M.A., University of
Nevada, Las Vegas, 2015.
This article acts as a guideline to include bass clarinet in your
pedagogical landscape. Iles first discusses the history and
development of the bass clarinet. She then provides an annotated
bibliography of bass clarinet literature including method books,

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concertos, etudes, orchestral excerpt books and more. She shows a
suggested course guide for the clarinet studio to incorporate bass
clarinet.
Volta, J. m. La Clarinette Basse (Methode). By J.m. Volta. For Bass Clarinet.
Calamus Jean-Marc Volta Collection. Methods. Grade 3-8. International
Music Diffusion, 1996.
This bass clarinet method book, written in both French and English,
provides everything the bass clarinetists needs to work on. Volta
provides a fingering chart, breathing exercises, long tones to find the
bass embouchue, dynamic exercises, left hand and right hand
exercises, and articulation exercises. Half-hole and harmonics are
discussed and explained thoroughly. Volta provides some orchestral
excerpts with explanation on how to approach them at the end of the
book.
Eb Clarinet
Gardiner, Kathleen Michele. An Annotated Bibliography of Twentieth-Century
Solo and Chamber Literature for the E-Flat Clarinet. D.M.A., The Ohio
State University, 2002.
This dissertation offers discussion on Eb clarinet literature for both solo
and chamber literature. Gardiner provides and annotated bibliography
for 29 different pieces of Eb clarinet literature. She discusses the body
of literature and it's importance. She also includes composers
biographies.
Intonation
Palanker, Edward. "Better to Be Sharp than Out of Tune." The Clarinet 29, no.
2 (March 2002): 62-65. Accessed January 22, 2016.
Palanker discusses in this article the perils of clarinet intonation. He
suggests that modern intonation charts used by band directors are
useless unless the entire clarinet section has the same clarinet, same
embouchure, same musical training etc. He provides practical ways to
improve clarinet intonation through developing good listening skills
and teaching good embouchure and breath support right away.
Palanker also discusses the importance of good quality reeds.
Wehle, Reiner. CLARINET FUNDAMENTALS VOLUME 3 INTONATION. Mainz:
SCHOTT MUSIK INTL MAINZ, 2008.

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This book is a good introduction to intonation. The book consists of
short exercises with provided tips that go through all different
intervals. Reiner gives the teacher and student plenty of opportunity
to explore intonation and adjusting the embouchure to better tune with
others. The last section of the book contains selections from standard
repertoire that needs intonation adjustment.
World Music
Bitz, Michael. Teaching Improvisation outside of Jazz Settings. Music
Educators Journal 84, no. 4 (1998): 2141. doi:10.2307/3399111.
This article is a good introduction to improvisation and teaching it. The
author outlines specific ways to begin teaching this elusive subject
with an emphasis on group learning. The author discusses how
through group improvisation, a more diverse and productive learning
session will follow and students will learn good collaboration skills.
Gingras, Michele. "Klezmer for Klarinetists - a Beginner's Guide." The Clarinet
31, no. 2 (March 2004): 64-67. Accessed January 22, 2016.
Gingras writes in this article about how to begin learning how to play
Klezmer music. Klezmer music is a traditional Jewish instrumental
dance music that is based on different scales (modes) than classical
music. Gingras provides the reader with an explanation of different
Klezmer techniques and the different scales used. She then provides
and example piece to be learned by the reader to practice all of the
techniques she talked about.
Kragulj, Boja. The Turkish Clarinet: Its History, an Exemplification of Its
Practice by Serkan Cagri, and a Single Case Study. D.M.A., The
University of North Carolina at Greensboro,
2011.http://search.proquest.com.cmich.idm.oclc.org/docview/8743827
34/abstract/F3F0D66D7D0B4DF3PQ/1.
This dissertation was an exploration into the clarinet in Turkey. Boja
Kragulj, is a western clarinetist who became interested in Turkish
clarinet from her journeys through eastern Europe. She studied with
Serkan Cagri, one of Turkey's most prominent clarinet performers and
teachers. In her dissertation, she discusses the history of Turkish
clarinet music and specific Turkish clarinet techniques she learned from
her studies.

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Anthology of Clarinet Pedagogical Resources

Strategies for Teaching Improvisation to Beginners. Timtopham.com,
August 1, 2012. https://timtopham.com/strategies-for-teachingimprovisation-to-beginners/.
This article is a great overview of how to teach improvisation to
students using the circle of fifths. The author provides an instructional
video at the end of the article to show the concepts discussed. The
article and video are geared toward the piano, but could easily be
adapted to any instrument or even a pairing of piano and another
instrument.
Music Theory/Ear Training
Musictheory.net. Accessed February 1, 2016. http://www.musictheory.net/.
Musictheory.net is an excellent resource for students to self-study on
their own outside of lessons. The website provides lessons on theory
basics, scales and key signatures, chords, chorc progressions and
more. The website also provides exercises for students to practice
their theory.
Surmani, Andrew, Karen Farnum Surmani, and Morton Manus. Alfreds
Essentials of Music Theory: A Complete Self-Study Course for All
Musicians. Alfred Music Publishing, 2004.
This book is a perfect guide and workbook to a beginning student's
education in music theory. This book works systematically from the
most basic concepts through increasingly difficult lessons. Each lesson
contains numerous exercises and explanations that break down
difficult concepts into teachable forms. A CD is included for the
listening segments.
Webster, Michael. "Teaching Clarinet: Living In Harmony." The Clarinet 30, no.
2 (March 2003): 12-13. Accessed February 8, 2016.
In this article, Webster discusses how to introduce students to basic
harmonies through learning arpeggios. He provides examples that
show the introduction of major, minor, and diminished and their
inversions. He encourages students to memorize the patterns early on
and then teachers give students immediate confirmation of learning by
providing meaningful music that includes the scales and arpeggios
worked on. He provides examples of those.
Miscellaneous

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Anthology of Clarinet Pedagogical Resources

"Australian Guide to Careers in Music." Music Career Wiki. 2003. Accessed
February 1, 2016. http://www.musiccareer.com.au/index.php?
title=Australian_Guide_to_Careers_in_Music.
This website is a great overview on the many different career paths
that a musician can take. It would be a great resource for a studio
teacher to show to students who want to know what is out there.
Avak, Tony. "Make an Alto Clarinet Stand for Less Than $15." The Clarinet 41,
no. 2 (March 2014). 84-85. Accessed January 22, 2016.
`

This is an interesting resource for a teacher. It outlines how to create

an alto clarinet stand using a guitar stand and felt pants. This is a
great option for the practical teacher who needs equipment but has
not a lot of money. It is also a doorway for other creative thoughts on
saving money.

Burke, Kelly. "The Art and Science of a Successful Masterclass." The Clarinet,
March 2009, 40-45. Accessed February 7, 2016.
This article by Kelly Burke overviews the do's and don'ts of teaching a
masterclass. She provides insightful comments on topics, engaging the
audience, how to deal with an unresponsive student and more. She
emphasizes that a masterclass teacher needs to have a vast
knowledge in pedagogy to be successful.
Carter, Angela Brenton. Observations of Practice Characteristics of
Undergraduate Clarinet Students in Practice Sessions and Preceding
Applied Lessons. D.M.A., The University of Oklahoma, 2010.
This study focused on observations that Angela Carter found when she
surveyed both students and teachers about practice strategies. The
study asked both students and teachers if specific practice strategies
were discussed in lessons. It is surprising to note that more than half
of the students said that they did not talk about practice strategies in
lessons while most teachers said that the in fact do talk about about
specific strategies of practice. Carter found that what students
actually do is imitate what the teacher showed in the lesson, rather
than what the teacher said. This reading is an interesting look into the
problem of how to get students to practice efficiently.
Cholka, Lynn Ann. An Annotated International Bibliography of Doctoral
Dissertations/treatises/essays/theses/documents Pertaining to the
Clarinet. D.Mus., The Florida State University, 1994.

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Anthology of Clarinet Pedagogical Resources

This dissertation is a compilation of all the dissesertations and studies
being conducted and having been completed by March 1994 about the
clarinet. It includes many different categories of clarinet study
including pedagogy, solo literature, chamber literature, history,
acoustics and construction, contemporary performance techniques and
more. This is a great resource for further study of the clarinet.
Graulty, John Patrick. The Status of the Double-Lip Clarinet Embouchure in
Present-Day Pedagogy and Performance: A Study of College Clarinet
Instructors and Symphony Orchestra Clarinetists. Ed.D., Columbia
University Teachers College, 1989.
This is a dissertation on the study of the double-lip embouchure.
Graulty questioned 701 clarinetists which included college professors,
orchestral musicians about their use of the double-lip embouchure and
how they applied it, if at all, to their teachings with students. Graulty
lists the reasons for and against the double-lip embouchure in his
dissertation based on the responses.
Kupferberg, Herbert. The Book of Classical Music Lists. New York, N.Y: Facts
on File, 1985.
Kupferberg's book is an interesting book to have. It would be useful to
have for students who are interested in music history and also would
like to further their understanding of music. The book contains trivia,
historcial facts, and information that would be difficult to find
elsewhere.
Montague, Michael J. "Reeds: Good or Bad? Its in the Cane An inside view
of Arundo donax L. The Clarinet 40, no. 1 (December 2012): 62-65.
Accessed February 8, 2016.
This article takes a scientific look at the cane reed. It discusses each
part of the cane and how it works to create a sound. There are
pictures provided. The author also discusses the proper way to adjust
the reed and the advantages and disadvantages of commercial reeds
versus home-made reeds.
Musaic. Accessed February 1, 2016. http://musaic.nws.edu/.
This website is owned and run by the New World Symphony. It offers
many different videos of masterclasses by world-class musicians. The
website also offers videos on audition preparation, reflections,

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Anthology of Clarinet Pedagogical Resources

performances and how-to videos. It would be extremely helpful to both
an educator and their students.
Nathan, Amy, Music Parents' Survival Guide: A Parent-to-Parent
Conversation (Oxford University Press, USA, 2014),
<http://www.myilibrary.com?ID=599625> ( 7 February 2016)
This book is a great resource for both teachers and the parents of the
children they teach. The book interviews parents of many successful
musicians and how they helped their children succeed through the
hardships of musical careers. The author discusses beginning your
child's music education, managing ups and downs, how to not be
overbearing, college, finding teachers and more. It would be a good
book to have on hand at your studio for parents to read while they wait
for their child!
Oxford Music Online. Accessed February 7, 2016.
http://www.oxfordmusiconline.com/public/.
Oxford Music Online is an online music reference page that contains
over 60,000 articles written by music scholars. It is an authoritative
research base for music researchers. This resource is only available
through subscription, but once subscribed, the user has access to the
most up-to-date information on musical subjects.
Paul, Randall Stewart. A Study and Comparison of Four Prominent Clarinet
Reed-Making Methods. D.M.A., The University of Oklahoma, 2001.
This dissertation compares four different reed-making methods in an
attempt to dispell the mysteries surrounding making clarinet reeds.
Paul interviews Stanley Hasty, former Principal Clarinet of the
Rochester Philharmonic and Professor Emeritus of the Eastman School
of Music, Christopher Sereque, Principal Clarinet of the Seattle
Symphony, Daniel Gilbert, Second Clarinet of the Cleveland Symphony
and Professor of Clarinet at Oberlin Conservatory and Robert DiLutis,
Second Clarinet of the Rochester Philharmonic. These four methods
are discussed and shown.
Podcasts: Philharmonia Orchestra. Accessed February 7, 2016.
http://www.philharmonia.co.uk/podcasts.
This website features a plethora of podcasts from different masters on
musical subjects. The range includes discussion of orchestral
repertoire, specific instrument podcasts, and more. This is a great
resource for teachers and students alike.

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Anthology of Clarinet Pedagogical Resources

Ross, Maria, Dr. The Fidelio Podcast. Accessed February 7, 2016.
http://fideliopodcast.libsyn.com/.
Dr. Maria Ross is a highly innovative leader in the field of historical
clarinet study. She created this podcast not based solely on clarinets,
but on all subjects related to art and the people who make it. The
podcasts are interesting and eye-opening to the subjects and areas of
study that you may not be aware off!
The Blog. The Bulletproof Musician. Accessed February 7, 2016.
http://www.bulletproofmusician.com/blog/.
This blog is a huge source of information on mental concepts that help
musicians become better at handling their anxiety. The author writes
about concentration, confidence, courage, determination, energy,
focus, preparation and resilience. All of the articles are great
discussion topics with students.
Young, Gregory. Teaching Students to Perform from Memory - A Clarinetist's
Perspective. The Clarinet. Fall 2003, 14-16. Accessed February 7,
2016.
This article is a discussion on how to effectively teach students to
memorize. The author takes his experiences and methods and
explains them thoroughly. He outlines three areas of proper
preparation: visual, aural and kinesthetic. These three methods
combined allow a student to fully memorize music.

Watabe, Junichiro. Single Reed Doubling: A Clarinet Method for

Saxophonists. D.A., University of Northern Colorado, 2008.
This dissertation discusses saxophone players' need to learn clarinet in
order to refine their musicality through the study of clarinet literature
and technique. Watabe provides discussion on technical issues and
how to teach saxophonists the clarinet with provided examples. This is
a good resource for the clarinet teacher who is faced with the
challenge of teaching a saxophone player.

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Anthology of Clarinet Pedagogical Resources