Rosario Mazzeo (April 5, 1911 – July 19, 1997) was an American clarinetist and clarinet system designer. He was born in Pawtucket, Rhode Island, grew up in Worcester, Massachusetts, and afterward lived in Boston, Massachusetts.
Clarinet Books Member - International Clarinet Association Clarinet Books (Updated 15 December 2017) This is the front page for our clarinet items and is where clarinet books are listed. This includes both books on the history of the clarinet as well as books on various aspects of clarinet playing and teaching.
These books have more textual descriptions than are found in method books. Click the drop down menus under Clarinet the menu for Music, CDs, Play Along CDs, and Videos. Our server has detected that you do not have Javascript turned on.
Here are instructions for enabling Javascript:. If you have an old browser, you might consider a new one. The Mozilla Firefox browser is highly recommended: If necessary you can navigate using our. By Eric Hoeprich. The clarinet has a long and rich history as a solo, orchestral, and chamber musical instrument. In this broad-ranging account Eric Hoeprich, a performer, teacher, and expert on historical clarinets, explores its development, repertoire, and performance history. This beautiful catalog documents the achievement of the late Sir Nicholas Shackleton (1937-2006) in assembling one of the world's finest collections of musical instruments.
Only one copy left. You may search for a title, author, or any other text on this page by using the Edit menu Find command (shortcut Ctrl+F or Mac Command+F).
This page is in alphabetical order by title. Books marked 'New!' In gold type are new publications. Books marked 'New!' In teal type are new to our stock. Clarinet Books C046: The 32 Rose Studies: An Analysis and Study Guide by Henry Larsen.
Larsen Audiographics, SB, 166 pages. The author studied with Pasquale Cardillo, Rosario Mazzeo, Simeon Bellison, and Arthur Christmann; was the assistant principal clarinet of the Hartford Symphony Orchestra from 1950-78; and a teacher and conductor at the Hartt School from 1950 to 1988. Each of the 32 studies is accompanied by extensive comments and suggestions. The author includes other instructional material independent of the studies including hand position studies and two articles on reeds reprinted from The Clarinet magazine. Note: If you need a 'regular' edition of the 32 Rose Etudes without the analysis and study suggestions you will find several editions listed. 24.95 C058: The Art of Clarinet Playing by Keith Stein.
Summy-Birchard, PB, 80 pages. A highly regarded introduction to the technical aspects of clarinet playing from a former instructor at Michigan State University.
Subjects covered include mouthpiece and ligature, the reed, the clarinet, embouchure, relaxation, breathing and support, voicing, release and tonguing, hand and fingers, tone quality, intonation, high-register playing, phrasing and interpretation, etc. The book also list some suggested literature and concludes with several etudes. 17.95 C2385: Articulation Development for Clarinetistsby Larry Guy. Rivernote Press, 2016, SB, 137 pages + CD. This is an extensive textbook by Larry Guy covering all aspects of clarinet articulation. It includes Building the Foundation: Air Stream and Embouchure, The Attack, The Short Staccato, Benefits of Short Note Study, The Variety of Articulated Style, Developing the Quality of Articulated Sound, The Norm and Variance from It, Reed and Mouthpiece Considerations, Exercises to Develop Articulation Stability and Endurance, Acquiring Speed with Accuracy, Famous Articulated Passages and Suggestions to Air in the Mastery of Them, Multiple Tonguing: Double and Triple Tonguing, and Harold Wright Articulation Warmups.
Includes demonstration CD. Click on the cover image to view the complete Table of Contents. 77.95 C1756: The Bass Clarinet, A Personal History by Harry Sparnaay. Periferia Music, 2011, PB, 258 pages + CD.
This is the second edition altough I don't see any obvious differences. Harry Sparnaay (1944-) is a well-known Dutch bass clarinetist. This book is both personal and comprehensive covering a wide range of the author's personal experiences and technical aspects of bass clarinet playing. There are many examples and resources for the player to draw on including multiphonic and microtonal fingerings and long list of recent repertoire. The CD has more than 100 audio examples of multiphonics and other special effects.
Because of the weight of this book, Media Mail shipping charges will be based on the actual cost of postage. Click on the cover image to view a.pdf file of the book's Table of Contents and another 16 sample pages. This book is not currently available from us. There is now a downloadable edition of this book available (not from us). C002: The Basset-Horn & its Music by John P. Rosewood Publications, Third Edition of 2003, SB, 127 pages. A very interesting book on an instrument that because of the work of the author and others with similar interests is no longer as neglected as it once was.
Chapters include What is a Basset-Horn?, The Name, The Rise & Fall of the Basset-Horn, The Modern Basset-Horn, The Repertoire (Solo Works with Orchestra, Chamber Works, Orchestral Works, List of Recordings, List of Publishers, Addresses for Manuscript Works, Index of Composers), and a bibliography. While there are some editorial changes and addition of repertoire, the primary changes are an improved layout and typeface and a more usable binding.
C004: Brahms: The Clarinet Quintet (Cambridge Music Handbooks) by Colin Lawson. Cambridge University Press, PB, 124 pages. A very interesting book which examines the technical aspects of the quintet and places it in the context of the times. Chapters include: The nineteenth-century clarinet and its music, Brahms and the orchestral clarinet, Brahm's chamber music before 1891, The genesis and reception of the Clarinet Quintet, Design and structure, Performance practice, The legacy of Brahm's clarinet music. 44.95 C006: The Cambridge Companion to the Clarinet edited by Colin Lawson.
Cambridge University Press, 1995, PB, 240 pages. Highly recommended.
Mazzeo Clarinet Manual Muscle Chart
43.95 C062: Campione on Clarinet by Carmine Campione. John Ten-Ten Publishing, Fairfield, OH, SB, 129 pages.
A graduate of The Curtis Institute of Music, a member of the Cincinnati Symphony Orchestra for 37 years, and an adjunct professor of clarinet at the College-Conservatory of Music of the University of Cincinnati, the author has put in writing proven methods, solid concepts, and a successful system of clarinet playing and instruction. Subjects include embouchure, breathing and support, tonguing, finger and hand position, equipment, intonation, reeds, and more. The author explains putting the concepts taught to work in an extended chapter on the Rose 40 Studies. 44.95 C1773: Care and Feeding of Your Clarinet, A User's Guide to Basic Maintenance by Heather Karlsson.
Karlsson Woodwinds, 2008, SB, 96 pages. This is not a repair book, but it does provide guidance and instruction for the kinds of basic troubleshooting and preventative maintenance that the clarinetist can perform. Learn about such topics as the consequences of neglect on the mouthpiece and body of the clarinet, how to maintain the clarinet mechanism and keep repair costs to a minimum, how to take care of the wood of the clarinet, and the basics of reed and mouthpiece mechanics. 24.95 C920: Catalogue of the Sir Nicholas Shackleton Collection by Heike Fricke et al; photography by Raymond Parks. Edinburgh University Collection of Historic Musical Instruments, 2007, HB, 809 pages, 1024 color illustrations. This catalog documents the achievement of the late Sir Nicholas Shackleton (1937-2006) in assembling one of the world's finest collections of musical instruments.
The clarinets (which constitute the main emphasis of the collection) span a 250-year period and range from contrabasses up to the smallest regularly-used clarinets (in high A). All the major instrument-making regions of the world are represented.
You can read more details about this book. NOTE: This book is very heavy (more than 7 pounds). All US orders must be shipped by Priority Mail (plus insurance if you wish).
One copy left. 144.95 G131: Circular Breathing: a Method by Robert S. Windplayer Publications, 2006, SS, 31 pages.
This book presents two alternative introductory methods of circular breathing. It also features exercises and advice from seven contributing experts for flute (Robert Dick), clarinet (Robert Spring), saxophone (Donald Lefevre), bassoon (Jeffrey Lyman), oboe (Martin Schuring), trumpet (Josef Burgstaller), and low brass (Samuel Pilafian), including recommended repertoire for each. Note: We are out of this book.
Mazzeo Clarinet Manual Muscle Parts
The publisher's website which we used for ordering is still there but not functioning. C033: Clarinet by Jack Brymer. Kahn & Averill, London, PB, 259 pages.
The book which was originally published in the late 1970s is now available again in the US. Chapters include: The Clarinet Today, History and Development, Acoustic Characteristics, The Practical Clarinettist, The Artistic Approach, and Teaching the Clarinet.
The book also includes a number of photos and other illustrations. 19.95 C1048: The Clarinet by Eric Hoeprich. Yale University Press, 2008, HB, 415 pages. Eric Hoeprich, a performer, teacher, and expert on historical clarinets, explores its development, repertoire, and performance history. Looking at the antecedents of the clarinet, as well as such related instruments as the chalumeau, basset horn, and bass clarinet, Hoeprich explains the use and development of the instrument in the Baroque age. The period from the late 1700s to Beethoven's early years is shown to have fostered ever wider distribution and use of the instrument, and a repertoire of increasing richness. The first half of the nineteenth century, a golden age for the clarinet, brought innovation in construction and great virtuosity in performance, while the following century and a half produced a surge in new works from many composers.
The author also devotes a chapter to the role of the clarinet in bands, folk music, and jazz. At the end for the book are lists of instrument makers and clarinet methods published before 1900, extensive notes, and an excellent index.
84.95 C011: Clarinet and Clarinet Playing by David Pino. Dover Publications, PB, 320 pages. The author, Professor of Clarinet at Texas State University, studied with Keith Stein at Michigan State University, starting at the age of eight, for fifteen years.
He graduated from Michigan State University with a Bachelor's degree in Theory and Composition, then earned a Master's degree in Woodwind Performance, and later, a Doctorate in Clarinet Performance. The book covers the technical aspects of clarinet playing, musicianship, teaching the clarinet, and reeds. It also includes significant chapters on clarinet history and literature. 44.95 C012: The Clarinet Concerto in Outline by Norman M. Van Cott Information Services, 2007, SB, 77 pages. This most recent of Professor Heim's surveys of the clarinet literature was originally published in 1997.
Each concerto is described in a detailed outline format. Chapters include: Early Period, Classic Period - Mozartian Era, The Romantic Period, and Contemporary Period. The publisher of each concerto is identified and there is an index by composer.
This edition has been completely reset in an easy to read typeface and we have added information on many of the composers. 24.95 C052: The Clarinet Doctor by Howard Klug. Woodwindiana, Inc., SB, 117 pages.
The author, Professor of Music at Indiana University, is particularly well know as a teacher of clarinet instruction techniques. This book is in two parts Part 1 (Klug's Clarinet Calisthenics) includes the Indiana University Clarinet Curriculum as well as many exercises.
Part 2, (The Clarinet Doctor) covers many subjects including Embouchure, Breathing, Body Posture, Tongue and Throat, Reeds, Squeaks, Bass Clarinet, Auditions, etc. Click on the book to see the full table of contents. 28.95 C1308: Clarinet Fundamentals 2: Systematic Fingering Course by Reiner Wehle.
Schott, 2008, PB, 136 pages. The second book in this series by Reiner Wehle. It does not include a fingering chart but is a comprehensive course made up of short exercises and examples from the literature emphasizing various notes and fingering combination. It includes examples from the Mozart clarinet concerto for basset clarinet. In English and German and covering all fingering problems in great detail for the Boehm and Oehler systems. 28.95 C061: The Clarinetist's Guide to Klezmer by Tom Puwalski, SB, 75 pages.
This is a how to book for Clarinetists who want to learn how to perform 'traditional' Klezmer. It includes 16 transcriptions of the recordings of Dave Tarras and Naftule Brandwein.
Contents include: What is Traditional Klezmer?, Types of Klezmer Music, Klezmer Ornamentation, I Just Pulled the Clarinet Out of the Closet After 25 Years and Want to Play, How Can I Learn To Play Klezmer Music?, Using This Book and Musical Examples, Thoughts on Putting Together a Band, Resources, etc. 24.95 C013: Clarinet Literature in Outline by Norman M. Van Cott Information Services, Inc., 2006, SB, 63 pages. We are pleased to present a completely reset edition of this invaluable guide to clarinet literature. It covers more than 200 works from all periods in a detailed outline format and briefly describes an additional 170 contemporary works. Originally published in 1984, 2006 marks our second printing of this book. It includes the dates of death for composers who have died since the original and our previous edition and a further updated bibliography of clarinet books.
24.95 C016: Clarinet Master Class by Allen Sigel. SHALL-u-mo Publications, SB, 78 pages. The clarinet teacher and former principal of the Buffalo Philharmonic has created master lessons and etudes based on six solo works by Mozart (Concerto K. 622), Weber (Concertino and Concerto No.
2), Spohr Concertos No. 2), and Brahms (Sonata in F Minor Op. Lessons include such topics as stylistic features, ensemble problems, musical and technical problems, dynamics, etc. The author provides recommended fingerings throughout the text. 29.95 C077: Clarinet On Campus by Michael Dean.
LMB Resources, 1997, SB, 161 pages. This book is based on the author's Ph.D. Dissertation at Texas Tech University on the subject of clarinet teaching at colleges and universities in the United States. It reports results in the areas of the Institution (degrees, recruitment, ensembles), Students (numbers, lessons, juries, recitals), and the Clarinet Teacher (teaching loads, other instruments taught, and demographic data). The text includes many graphs and charts. 24.95 C230: The Clarinet Revealed by Ernest Ferron translated from the French by Jacqueline Rose. International Music Diffusion, 1996, PB, 109 pages.
Ernest Ferron has drawn from his experience as a master instrument maker and from his contact with leading instrumentalists to produce a synthesis of his knowledge. The first 60 pages covers how a clarinet works with details on the bore, barrel, bell, mouthpiece, reeds, and tuning. The rest of the book is on the tools and techniques of clarinet repair. 32.95 C017: Clarinet and Saxophone Reed Adjustments by Vito Platamone Jr. SS, 15 pages.
The author studied with Robert Marcellus and Anthony Gigliotti and played in the West Point Band with Larry Combs in the early 1960s. He was the Principal Clarinet of the New Orleans Symphony and is now retired in Arizona. Don't let the slim size of this book fool you. It is a straightforward, well illustrated guide to finding and adjusting clarinet and saxophone reeds.
Free Media Mail shipping on this booklet to US, IF ordered with another item. (Except other items with free shipping.). 41.95 C021: More Clarinet Virtuosi of the Past by Pamela Weston.
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Emerson Edition, U.K. 1977, reprint of 2002. PB, 392 pages. (OK we cheated on our alphabetical order because we didn't want you to miss this book.) While the first clarinet virtuosi book concentrated on detailed accounts of the elite of the clarinet world, the author casts a wider net here with biographical information on many many more clarinetists. The format is inclusive covering Abel to Zwicker with citations running from two lines to several pages.
It includes list of players by city, compositions with dates of performance and clarinetist, bibliography and index. A very useful source for program notes on works composed by clarinetists.
This book belongs in every clarinetist's library. 41.95 C067: Yesterday's Clarinettists: a sequel by Pamela Weston. Emerson Edition, 2002. PB, 314 pages. This book is a sequel to More Clarinet Virtuosi of the Past and follows the same format of entries of a single paragraph to several pages.
There are about a thousand, of which about 600 are new, and the rest contain additional or corrected information. Many clarinetists of recent memory are included such as Daniel Bonade, Yona Ettlinger, Rudolf Jettel, Reginald Kell, Gustave Langenus, Robert Marcellus, Robert McGinnis, and Aage Oxenvad. Also included are a list of orchestras and their clarinetists (not especially up to date) and compositions with their first performance. 24.95 C338: The Daniel Bonade Workbook by Larry Guy. Rivernote Press, 2004, Third Edition 2007, SB, 110 pages.
Daniel Bonade was arguably the greatest American clarinet teacher and certainly one of the greatest orchestral clarinetists of the 20th century. This workbook will reacquaint clarinetists with Bonade's fundamental playing concepts. It covers the tonal ideal, the study of legato, phrasing, articulation, coordination and control, conquering technical passages, Bonade's comments on orchestra excerpts, equipment (reeds and ligatures), Bonade's aesthetics, and studies based on Klose and Charpentier compiled by Bonade and Lefebve. The CD, is suggested for used with this book.
24.95 C025: The Early Clarinet - A Practical Guide by Colin Lawson. Cambridge University Press, 2000, PB, 128 pages. This practical guide is intended for all clarinetists with a desire to investigate music of earlier periods.
It contains help on both the acquisition and the playing of historical clarinets with much advice on style, approach, and technique which combine to make up a well grounded interpretation. 'Early' in the context of this book is not limited to the Baroque clarinet, but extends through the nineteenth century to include the music of Brahms. 39.95 C023: The Educator's Guide to the Clarinet - Second Edition by Thomas Ridenour.
PB, 232 pages. The second edition of Tom Ridenour's best selling book has been expanded and improved. This book intended for anyone and everyone who is faced with the task of teaching or learning the clarinet. Part I: Clarinet Pedagogy consists of Teaching the Clarinet Tone Concept, The Air: Breathing and Blowing Correctly, The Tongue: Voicing the Clarinet Tone, How to Teach the Clarinet Embouchure, Summary Outline of Tone Production Techniques, How to Teach Articulation, and Technique: Fingering Fundamentals. Part II: Clarinet Equipment includes: How to Test and Select Clarinets, All About Clarinet Mouthpieces, Fundamentals of Reed Balancing, Clarinet Repair and Maintenance, and Accessories for the Clarinet.
46.95 C899: The Effortless Clarinet by Richard Nunemaker. Richard Nunemaker, 2006, SS, 27 pages.
This booklet by Richard Nunemaker, clarinetist, bass clarinetists, and saxophonist with the Houston Symphony since 1967, represents a distillation of the principles he has learned in his 40+ years as a professional. It covers: How to Hold the Clarinet, Breathing, Embouchure, Long Tones, Overtone Exercises, Mouthpiece Excises, Scales and Chords, Reeds, Tonguing/Staccato, Intonation, Sight-Reading, How to Practice, and Preparing for a Lesson, Audition or Performance. Free Media Mail shipping on this booklet to US, IF ordered with another item. (Except other items with free shipping.). 14.95 C047: Embouchure Building for Clarinetists by Larry Guy. Rivernote Press, 10th Edition, 2011, SB, 102 pages.
This handbook was originally designed for teachers and intermediate-level clarinetists. In the most recent editions the author has added information of a more advanced nature. Chapters include The Function of the Embouchure, the External Embouchure, Building the Muscles of the Lips, Building the Air Support Mechanism, An Introduction to Vowel Concepts, for Tonal Purity, A Vowel Concept for the Lips, The Internal Embouchure-Tongue Position Development, How a Good Embouchure Affects Articulation, Developing the Upper Lip, and Fundamental Concepts Set Forth in this Handbook.
Includes many diagrams, photos, and musical exercises. 24.95 C1079: The Everyday Virtuoso by Robert Chesebro and Tod Kerstetter. Woodwindiana, 2008, SB, 118 pages.
Subtitled: A Structured Approach to Developing Technique for Collegiate and Advanced High School Clarinetists. Tod Kerstetter (clarinet professor at Kansas State University) has written this book with his former clarinet professor from Furman University, Dr. Robert Chesebro. It describes the proven practice methods that Dr. Chesebro has used for years to develop incredible clarinetists in the state of South Carolina.
Basically, Dr. Chesebro believes that all clarinetists with a good work ethic (and the willingness to spend some serious time with the metronome!) can develop outstanding technique—regardless of their social, economic, or musical background.
Subjects include basic practice concepts, establishing a daily routine of sales and arpeggios, polishing techniques, managing practice sessions, developing articulation, and more. 29.95 G054: For the End of Time, The Story of the Messiaen Quartet by Rebecca Rischin. Cornell University Press, 2003 (2006), PB, 175 pages. NEW PAPERBACK EDITION. The author, clarinet professor at Ohio University, has written a comprehensive history of the composition and premiere of the Quartet for the End of Time ( Quatour pour la fin du Temps) which took place in German camp for French prisoners of war in January, 1941. Based on extensive interviews and documentary research, it examines the events that lead to the composition, the experiences of the musicians in the camp, the composer's interpretive preferences, and the musicians' problems in execution and how they affected the premiere and subsequent performances.
The paperback edition includes a new Appendix C with additional information. 24.95 C1394: From the Clarinet d'Amour to the Contra Bass by Albert R. Oxford University Press, 2009, HB. Following his much acclaimed and, Albert R. Rice now turns his signature detailed attention to large clarinets - the clarinet d'amour, the basset horn, the alto clarinet, bass and contra bass clarinets. Each chapter is devoted to a specific instrument (or instruments) or its music, and offers a fascinating insider's look at its defining characteristics, a comprehensive history of its evolution, meticulously researched information on its makers and aspects of construction, and a thorough discussion of its music.
Rice illustrates how the introduction of large clarinets into chamber ensembles, wind bands, and opera orchestras was the result of experiments meant to address specific musical needs. Along the way, he brings to life the musicians, virtuosi, soloists, and orchestral and band musicians, as well as the instruments' makers and the composers from J. Bach to Smetana who wrote for them.
Based on careful study of primary sources - musical compositions, patents, memoirs and diaries, and unfettered access to historical instruments themselves. There are references throughout the book to color illustrations that are available on the web. 114.95 C2557: Fundamentals for Fine Clarinet Playing by Fred Ormand. Fred Ormand, 2017, SB, 114 pages. This is a new book by Fred Ormand who among his many honors and positions, may be best know for his 23 yeas at the University of Michigan School of Music, Theatre and Dance. David Shifrin's introduction to this book states '.21st century clarinetists can find in this book the tools, tips, and a step by step method of how to grow from playing the clarinet well to being an artist.' The subjects covered in the chapters and appendices include: Putting the Wind in this Wind Instrument; Embouchure: Connecting to Player to the Instrument; Facility, or Efficient Fingers; Articulation, or the Unseen Technique; Putting It All to Use; The Complete Clarinetist; Practice Techniques for the Aspiring Clarinetist; Selecting and Maintaining Your Instrument; Concluding Thoughts and Advice; Biographies of Teachers; The Five-Note Scale Exercise; and Some Books of Interest to the Aspiring Clarinetist.
44.95 C844: Hand and Finger Development for Clarinetists by Larry Guy. Larry Guy, 2007, SB, 96 pages. The purpose of this book is to help clarinetists improve their finger speed and accuracy through the use of proper hand position, efficient finger motions, and correct fingerings. The book includes preliminary exercises, hand and finger fundamentals (in theory and practice), additional technical concepts, fingering guidelines, support of the air, the role of the embouchure, slow legato, note pattern comprehension, and mastering fast passages. The book has many illustrations and musical examples and exercises. 24.95 C066: Handbook for Making and Adjusting Single Reeds-Revised Edition by Kalmen Opperman, M. Baron Company, Inc., SS, 44 pages.
This book is back in print after an absence of mnay years. It is intended for those who wish to make reeds or work on commercial reeds for all clarinets and saxophones. Subjects covered are the handmade reed, the commercial reed, cane, the model reed, tools, making the shaped blank from tube cane, cutting the vamp, finishing the reed, adjusting and retouching handmade or commercial reeds and the life of the reed. Appendices include reed scraping suggestions, suggested measurements, the German B-flat clarinet reed, and sources for cane and reed making equipment.
29.05 CD201: The History of the Clarinet in Words and Music by Colin Lawson. Clarinet Classics, 1994, 81 pages, 2 CDs.
The History of the Clarinet is an extended booklet and two CDs of music, tracing the development of the clarinet from the Baroque period to its current prominent position in all forms of music. The first CD is contemporary performances (some on period instruments) tracing clarinet music from the chalumeaux to the present. The second CD is historical recordings from 1898 to about 1940. The 81 page booklet is now a.pdf file on the second CD. Click on the cover image to view the contents of the two CDs. Use your browser's Back button to return.
14.95 C076: A Life in the Golden Age of Jazz, A Biography of Buddy DeFranco by Fabrice Zammarchi and Sylvie Mas. Parkside Publications, 2002, HB, 383 pages. A large, lavishly illustrated book on the life of Buddy DeFranco. Born in 1923, Buddy has lived through almost the entire history of jazz. He began a career 'on the road' at the age of only 16, playing in many of the big bands which became the hallmarks of the Swing Era: Gene Krupa, Charlie Bamet, Tommy Dorsey and Boyd Raebum.
He participated in the origins of the Bebop Revolution in New York in the 1940s, playing with Charlie Parker, Lennie Tristano, Dizzy Gillespie and all the greats. He also was featured with the legendary Count Basie Septet in 1950 and then led his own big band in 1951. From 1952 to 1956, Buddy led his own Quartet and then he lead the Glenn Miller Orchestra from 1966 to 1974. Subsequently he resumed his career as a soloist and leader of small ensembles and is still performing today.
This book includes six transcribed solos, a complete discography and additional end notes. Because of the weight of this book, Media Mail (bookrate) shipping charges will be based on the actual cost of postage. 64.95 C129: A Life in the Golden Age of Jazz, A Biography of Buddy DeFranco Collector's Edition by Fabrice Zammarchi and Sylvie Mas. Parkside Publications, 2002, HB, 383 pages.
The Collector's Edition is personally autographed by Buddy and the authors and is luxuriously bound in bonded leather and comes in a slipcase. Only 1,000 copies of the Collector's Edition have been printed.
Copies are individually numbered. Because of the weight of this book, Media Mail (bookrate) shipping charges will be based on the actual cost of postage. 124.95 C413: Making and Adjusting Clarinet Reeds by Glen H. 2000, SS, 38 pages. Bowen is Professor Emeritus of Music at the University of Wisconsin-Madison. This booklet is about making reeds from blanks economically with a minimum of gadgetry. The chapters cover equipment, reed making procedures, and adjustment.
A short list of reed making equipment suppliers is included. The author writes about this book '. My procedure for making reeds is quite detailed. It uses common tools in logical combinations which will produce reeds easily. In the section of the book dealing with adjustments, there are no mysteries, no double-talk,.
Straightforward and factual.' Free Media Mail shipping on this book to US, IF ordered with another item. (Except other items with free shipping.). 12.95 C064: Making Clarinet Reeds by Hand by Walter Grabner. ClarinetXpress, 1999, SB, 28 pages. This book is a comprehensive guide to making reeds 'from scratch.'
Subjects include: why learn to make clarinet reeds, reed cane, tube cane vs. Blanks, blanks suitable for clarinet reed making, quality of the cane, tools required for reedmaking, response vs. Resistance, curing your blanks, measuring the length of the vamp, scoring the blank, removing the bark, the cuts, a model reed, filing, sanding, clipping and adjusting. The book includes nine photos.
24.95 C034: New Directions for Clarinet by Phillip Rehfeldt. Scarecrow Press, PB, 200 pages. This is the 1992 second edition reissued by a different publisher in 2003. The second edition was completely rewritten, corrected where necessary, and updated. This is one of the most important books available on extended clarient techniques.
Rehfeldt has added the complete list of William O. Smith's clarinet compositions and recordings to his previous listing of Smith's early multiphonic fingerings.
The new edition also includes an appendix containing Eric Mandat's quarter-tone fingerings; a second music bibliography, the 'International Update'; and an updated bibliography of music literature. 19.95 C1247: A Practical Approach to the Clarinet For Beginning Clarinetists and their Teachers by David Etheridge. Woodwind Educators Press, 2008, SS, 38 pages. This book for beginners includes lots of helpful diagrams, photos, and musical exercises. The topics covered include assembling the clarinet, getting a great tone from the beginning, fingerings for all notes from low E to C above the staff, articulation, notes for the little fingers, control of the register change, playing beautiful high notes and daily drills.
10.95 C1248: A Practical Approach to the Clarinet For Intermediate Clarinetists and their Teachers by David Etheridge. Woodwind Educators Press, 2008, SS, 48 pages.
The intermediate book continues this series with more detailed looks at some subjects touched on in the beginning book. The topics covered include breathing and posture, breath control and support, embouchure, voicing the tone, articulation, left hand position and the register change, right hand position and alternate fingerings, and altissimo notes to high G. Many diagrams, photos and musical exercises are included. 10.95 C1249: A Practical Approach to the Clarinet For Advanced Clarinetists, Revised Edition by David Etheridge. Woodwind Educators Press, 2009, SB, 148 pages. The purpose of this advanced book is to provide a number of ways to approach each of the fundamental aspects of clarinet playing and to provide the tools to learn music of all levels of difficulty.
The first four skills: breathing & posture, breath control & support, embouchure, and voicing create a beautiful clarinet tone. Other topics covered are: articulation, hand position, subdivision, throat tones, high notes, upward and downward skips, legato finger motion, and rinforzando attacks.
This book adds and extensive array of etudes (mostly from Rose) for practicing the techniques. A short bibliography of suggested material is also included. This is the revised edition of this book. It is 66 pages longer than the original version. 34.95 C040: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet by Ronald L. Ethos Publications, SS, 44 pages.
Caravan has been a member of the faculty of Syracuse University School of Music since 1980 teaching applied clarinet and saxophone. His Eastman School of Music doctoral dissertation was Extensions of Technique for Clarinet and Saxophone (1974). This book provides a solid introduction to extended clarinet techniques for the advanced student and can be used as material for lessons or self study. This book covers the areas of Timbre Variation, Quarter Tones, and Multiphonics.
Each section includes an explanation of the technique, examples, fingering charts (when appropriate), and etudes. 17.50 C1039: Protocol: A Guide to the Collegiate Audition Process for Clarinet compiled and edited by Larry Clark and Daniel Schmidt with a Forward by Robert S. Carl Fischer, 2007, SS, 45 pages (plus piano accompaniment 27 pages). The purpose of this book is to provide high school students with or without a private teacher with a comprehensive collection of materials that will satisfy the needs of most college music auditions.
It includes information on how to take an audition, music placement exams, selecting a college, and repertoire of the most often requested material. This includes scales and arpeggios from Carl Baermann Op. 63, Orchestral Excerpts (Beethoven Symphony No. 6 and Mendelssohn-Bartholdy A Midsummer Night's Dream Op. 61 Scherzo), Technical Etudes (No. 11 from the Rose 32 Etudes) and two complete pieces with piano accompaniment (Weber Concertino Op.
26 and Debussy Premiere Rhapsody). 19.95 C657: Repertory of the Clarinet, A Listing of Works for Study and Performance by Kalmen Opperman.
Carl Fischer, 2006, PB, 137 pages. This is a reprint of the original 1960 hardbound edition. It includes listings of music including or featuring clarinet in nearly every conceivable combination.
Listings include composer, title and publisher and in some cases additional information such as instrumentation, date, and (rarely) duration. While some of the music listed is out of print, this is still a useful reference book. 14.95 WW026: Saxophone Mouthpiece Selection by Robert Scarff.
Jamey Aebersold Jazz, 2006, SB, 88 pages. This book contains information on mouthpiece parts and design, guidelines in selecting a mouthpiece for the type of sound you need, facing charts for commercial saxophone and clarinet mouthpieces, and chamber designations of some representative brands of saxophone mouthpieces. This book also includes guidance on reed adjustments, some maintenance tips, and some musician jokes. While this book is primarily oriented toward the saxophonist, clarinetists will also find useful information here.
9.95 C204: Selected Clarinet Masterclasses from the editors of Windplayer. Windplayer Publications, 1998, SS, 31 pages. This book contains 15 brief masterclasses on wide variety of subjects such as reeds, breathing, articulation, and bass clarinet tone by well known clarinetists such as Don Byron, Howard Klug, J. Lawrie Bloom, Franklin Cohen and more. Click on the cover image to view Table of Contents. Use your browser's Back button to return.
Note: We are out of this book. The publisher's website which we used for ordering is still there but not functioning. C041: Selection, Adjustment, and Care of Single Reeds by Larry Guy. Rico Editions by D'Addario, 2012 (third edition), SB, 64 pages. A practical and well illustrated guide to clarinet and saxophone reeds. This book presents detailed instructions for selecting, breaking in, and adjusting reeds in an easily understood manner. It also includes a guide to the selection, care and use of reed tools (knives, sharpening stones, sandpaper, files, etc.).
24.95 C1755: Serve the Music by Lawrence Sobol. Sobol Bros Productions, 2010, SB, 79 pages. This book is something of a composite with fifteen pages of advanced finger exercises (94 in all) based on passage for clarinet from the 20th century composers Ingolf Dahl, David Diamond, Roy Harris, Karel Husa, and Walter Piston.
The rest of the book is composed of biographies, personal reminiscences and musical examples from these composers. It also includes a CD with a lecture from 1976 featuring William Schuman and Roy Harris.
It is printed on heavy paper with some of the illustrations and photos in color. I believe that both the author of this book and the distributor, Richard Gilbert of Grenadilla Music, have passed away. If anyone knows of a current source please let us know.
C373: The Single Reed Adjustment Manual by Fred Ormand. Amilcare Publications, 2000, SB, 84 pages. A comprehensive guide to the adjustment of single reeds. Includes the subjects of reed design, reed tools, care of the reed knife, selecting the reed, preparing the reed, balancing the reed, working on spots, clipping, breaking-in, using and storing reeds, reed analysis, equipment (mouthpiece, ligature, and clarinet), location (altitude, humidity, and temperature), and hints when 'Nothing Else Works.' 53.95 C2323: Squeak Big, Practical Fundamentals for the Successful Clarinetist by Phillip O.
Imagine Music, 2015, SB, 109 pages. Squeak Big teaches aspiring clarinetists the fundamentals necessary for success on the instrument through conceptual development and practical exercises. The book is divided into four sections: Pedagogy (embouchure, sound, relaxation, homogeneous sound. Altissimo, building technique, finger, legato, articulation and reeds), Effective Practicing, Daily Elements (scales), and Additional Resources.
Click on the cover image to view the full Table of Contents. 34.95 C1738: Dave Tarras, The King of Klezmer by Yale Strom. Or-Tav Music Publications, 2010, PB, 128 pages. A long overdue biography of a musical giant, klezmer clarinetist Dave Tarras (1897-1989). Through comprehensive interviews, detailed historical perspective and a musician's insider knowledge, Yale Strom has woven a fascinating and informative portrait of one of the 20th Century's most important, influential, and charismatic klezmers. About half the pages of this book are 28 compositions by Tarras with parts in C and B-flat with chord symbols. 26.95 C074: Tipbook Clarinet by Hugo Pinksterboer.
The Tipbook Company, 2001/2010, PB, 240 pages. A newer edition of this book in a larger format and with almost 100 additional pages. This is a 'hardware' book about the instrument itself and is especially recommended for anyone who wants to learn more about or needs a reference on the physical aspects of the clarinet. This may include adult beginners, parents of clarinet students, teenage students, non-clarinetist music education majors or band directors, etc. The book is very well illustrated and includes chapters on buying a clarinet; mouthpieces, ligatures, and barrels; reeds, how clarinets are made, the brands of clarinets, steps to take before and after playing, maintenance, the family of clarinets and related woodwinds, etc.
The new edition of this book includes a fingering chart. Interactive Tipcodes, audible examples of topics in the book, can be accessed at www.tipbook.com. 14.95 WW179: The Woodwind Player's Cookbook edited by Charles West. Meredith Music, 2008, PB, 178 pages. Subtitled Creative Recipes for a Successful Performance, this valuable collection of quick-to-read yet deeply insightful strategies is like finding expert trade secrets all placed in one convenient source. With outstanding records of performance, workshop clinics, recordings, research, composition, leadership and teaching, the 57 authors provide their favorite “recipes” that range from overviews of successful programs to specific topics that will inspire all levels and types of ensembles and performers. Sample “recipes” include: Developing Facility on the Bass Clarinet (J.
Lawrie Bloom), Breathing Demystified (Leone Buyse), Recipe for Preventing Play-Related Health Problems (William J. Dawson, M.D.), How Should I Test a Saxophone Mouthpiece? (Eugene Rousseau), and many more.
Click on the cover image to view Table of Contents. Use your browser's Back button to return. 24.95 C043: The Working Clarinetist by Peter Hadcock edited by Bruce Ronkin, Aline Benoit and Marshall Burlingame. Roncorp Publications, 1999. SB, 212 pages. Subtitled Master Classes with Peter Hadcock.
Hadcock, the late Assistant Principal and E-flat Clarinetist of the Boston Symphony Orchestra, describes this book as an attempt to put on paper what he learned during his forty-three years of playing the clarinet. The book is divided into four parts. The first part which represents three quarters of the book is annotated orchestral excerpts many of which are part of the standard audition repertoire. Part 2 covers many technical aspects of clarinet playing such as embouchure, articulation, intonation etc. Part 3 are master classes on Mozart's and Nielsen's clarinet concertos.
The final section has trill and tremolo fingerings. Click on the cover image to view the list of excerpts.
I had been looking at a few of the acoustics discussions that recently popped up and thought about them in the grand scheme of things. I realized that they're concerned with improving existing instruments. That got me to thinking: is there anything more to be invented, as far as musical instruments are concerned? Here's another point.
The saxophone was arguably an improvement over clarinets and double-reeds because, well, it's louder. It also has a tone which is (arguably, of course, stay with me) between clarinet and trumpet: more edgy than one, less strident than the other. Sarrus and Roth also tried improving double-reeds by creating metal, sax-like instruments that project a lot more than, say, your standard contabassoon. However, these instruments sound like.
Loud double-reeds. The problem is that Sarrusophones and Rothophones (as well as other double-reed improvements, like the Heckelphone) are rarely seen or heard. The saxophone is. Arguably, electronic instruments are an advance, but they can be lumped into two categories: instruments used to replicate the sounds of EXISTING instruments and instruments used to create, well, 'synthy' sounds you rarely hear outside of pop music. So, will there be another advance?
What would it be and why? In what respect? If you want high and rather piercing, you have the flute family. From what I recall - again, I'm not a flute player; my sister is and I've heard her complain - there is a bit of a problem with flutes in that they don't seem to have that much dynamic range. If you want high and mellower, you have the violin and clarinet families. While I think you can successfully argue that both of these instrument families have problems, such as overblowing a 12th and not having enough range (the violin has had range added throughout the years; reference Paganini on that one), they're not exactly bad choices for melody and higher. Well, considered from a 1970's standpoint, it is a bit more complicated.
Looking at it through the eyes of someone who is accustomed to playing a double register key bass clarinet or saxophone, it's (as our British friends are fond of saying) 'a doddle'; the operation of the second register key becomes second nature once you are accustomed to it. (I currently have a couple of non-automatic register key bass clarinets, and I pass to and from the one that's kept in working order with no difficulty whatsoever. And, mind you, I am not God's gift to bass clarinet playing.) Complexity in clarinets is nothing compared to complexity in oboes. If they can live with it, so can we. (The main problem that I saw in the two Marchi clarinets that I have handled is that both had relatively new (and uncompressed) corks, which (in both cases) led to unskilled hands causing damage to the second register key system during assembly.
Stupid, but that's what happens when curious people are in a hurry to look at something new. Well at least the guitar would be in tune Actually, I invision a marrage of wind synth and traditional design. Something like touch sensitive keys with feedback wired to micro servos opperating the key cups.
The body would be made of brass or wood. You would use your choice of mouthpiece and reed. The whole system could be powered by the energy the finger and body movement.
Much like a kinetic watch. In the end, you'd have a lighter weight instrument with less moving parts. It be designed with high end pro use in mind. Well at least the guitar would be in tune Actually, I invision a marrage of wind synth and traditional design. Something like touch sensitive keys with feedback wired to micro servos opperating the key cups.
The body would be made of brass or wood. You would use your choice of mouthpiece and reed. The whole system could be powered by the energy the finger and body movement. Much like a kinetic watch. In the end, you'd have a lighter weight instrument with less moving parts.
It be designed with high end pro use in mind. That's the sort of thing I'd imagined too. There are lots of possibilities once fingering is mechanically decoupled from closing holes. Formerly complicated mechanisms like and articulated G# or the saxophone's octave mechanism become simple programming jobs.
You can even have auto transposition. The same instrument could become a clarinet in A, Bb or C at the flip of a switch. A clarinet for sax players could have fingerings that appear to overblow at an octave even though the instrument overblows at a 12th. Just the finger pattern to closed hole mapping needs to change. That might be a bit confusing to play at first as resistance would change when you weren't expecting it but you would probably adapt.
Well, it seems my original topic has now morphed into, 'What improvements do you think will happen?' I think that's OK. I know one definite reason why a 'fly by wire' system won't be implemented on MOST horns: it's too expensive and too clunky. I accept that there are fundamental flaws in all instruments because all instruments have something you have to compromise with, like the clarinet overblowing a 12th, so you can't use the same fingerings for all the notes. However, there have been experimental-type instruments to try to fix these issues, but. They were too expensive and/or too clunky. Example: Jim Schmidt's beautiful saxophones and flutes.
The other thing is that the standard instruments. Can be pretty good. In the 1930's, Leblanc made a 'perfect' saxophone, called the 'Rationale'. It had extra vents all over to compensate for intonation problems inherent in the design of the sax. The few folks that own these (and I'm not talking about the Lebanc System horns) can attest to their excellent intonation and tone, but the horns were very expensive to make and very expensive to maintain - and your tech needed a new service manual to work on 'em. A lot of people probably thought, 'Well, you know, that Selmer Balanced Action really isn't that bad. It's got pretty decent intonation and it's a lot cheaper.'
Leblanc only sold about 200 of these horns. I mentioned that mechanical assist for large instruments might be a good thing. One reason why is because these instruments are already extremely expensive. If your horn is already $20,000 (e.g. Contrabass sax-range money), you're not going to mind an extra one or two thousand added to the price to ensure better intonation and/or easier to use keywork.
THAT'S a bargain. Hey, I remember having to use all those false fingerings on bass sax to make it play in tune. I would have definitely paid 10% more to save me that frustration (if I owned the bass, that is).
A final comment on using 'fly-by-wire': it's too slow if you use electric motors to close the keys. You'd probably use hydraulics. With respect to Clarinet, it is clear that most people have built up muscle memory towards the Boehm system, and that counts for something when one is looking to improve the instrument.
For it limits what people will tolerate in 'getting used to'. Customized barrels and bell fitted with vent/groove for bell note stability are very much accepted given the fact that they impact not the keywork. Add-ons and derivatives on the other hand. If new keys have to be put in and the keywork is altered, the system tend not to endure. We've seen Marchi and Mazzeo fade away while McIntyre eliminated for example. Even Bell E correction key that we see in Tosca and Steve Fox's work for example are a bit of a one-off, along with the register correction keys that are found in Schwenk & Seggelke as well as Fox horns. I think that extended range 'basset clarinet' to low C in various keys would also be in this category.