A Volume of Specific Clarinet Intermediate Studies
for the Development of Strength and Digital Independence in Fingers and Hands
by Kalmen Opperman
Clarinet Solo - Sheet Music

Chamber Music Clarinet

SKU: CF.WF91

For the Development of Strength and Digital Independence in Fingers and Hands. Composed by Kalmen Opperman. SWS. Back To School. Book. With Standard notation. 64 pages. Carl Fischer Music #WF91. Published by Carl Fischer Music (CF.WF91).

ISBN 9780825874918. UPC: 798408074913. 9 x 12 inches.

From the world-renowned clarinet pedagogue, Kalmen Opperman, Carl Fischer Music publishes a book of studies meant to deconstruct and rebuild finger and hand technique for players at the intermediate level. The book is broken into three sections: Studies for the Left Hand, Studies for the Right Hand, and Studies for Both Hands. According to Opperman, “this book consists of specific studies, which, if applied as directed, should greatly enhance the strength, flexibility, independence and accuracy of the fingers and hands.”.
This book consists of specific studies, which, if applied as directed,should greatly enhance the strength, flexibility, independence and accuracyof the fingers and hands. Each study must, early on, be mastered accuratelyat a very comfortable, slow tempo using light finger pressure and a firmembouchure.After the studies become comfortable at a very conservative tempowith connections (i.e., intervals) smoothly accomplished, a modest increasein tempo may begin. Ultimately, the same basic approach should be appliedto all the studies. Slowly work the studies in this fashion until the book isan integral part of your daily bag of tricks.There are individual students and players who tend to be morecomfortable playing each study until they reach their desired ultimate tempobefore moving on to the next, thus making their work more meaningful.Other players prefer to work the complete book, successfully playing eachstudy very slowly until the book is mastered at a modest tempo. They thenreturn to the beginning of the book and proceed with each study, slowlyraising the tempo until the optimum speed is attained.Remember, play slowly and rest often (each measure or two ifnecessary); then, as you progress, rest every four measures, etc. If theembouchure becomes fatigued, it is time to rest. When the beginningstudent (not using a harness or neck strap) takes a break, the clarinetshould be out of the hands and placed on a peg or other safe resting place,absolutely not in front of a heating or air-conditioning vent.Clarinet sockets should be dried and separated if practice sessionscontinue for long periods. This may also be possible during intermissionsof long concerts or breaks in recording sessions. Perhaps rest is one of thebest antidotes in avoiding Carpal Tunnel Syndrome. Silk swabs are highlyrecommended, since they do absorb moisture without causing much wearand tear in the bore. Silk swabs are also less abrasive than cotton swabs.Swabbing often helps avoid water in the pads of the left hand.The following is an additional approach to practice worth considering.In the beginning, play for three to five minutes; then rest for two or threeminutes. This is also a viable pattern for good finger and hand development.Occasionally, use a mirror to check embouchure, fingers, hands, clarinetand body positions.It is outrageous giving B≤ clarinets to children ages 7, 8, 9, 10 andsome 11-year olds whose finger pads are too small to comfortably cover thetone holes. Teachers and parents must refrain from continuing the blundersthat have been perpetrated these many years! There are those fingers whichfall into the holes and others that cannot manage the large stretch betweentone holes and must press so strongly that the finger nails turn white.The solution is simple. Each school or private teacher should ownan E≤ clarinet to loan the student, or rent or purchase one from the localmusic store until he/she grows into the appropriate-sized instrument.If the E≤ clarinet is, by chance, too large for the child, the next move isto the A≤ piccolo clarinet pictured on the cover of this volume. My son,not quite age three, is the performer preparing for his first recital. Yousee, there is a simple, viable exit from the instrument-size problem. TheC clarinet may solve the problem since its size rests between the B≤ andthe E≤ clarinet. Remember, a string teacher would not expect a 9- or 10-year old to play a full-sized cello. We must not persist in discouraging ordestroying young talents with an over-sized instrument. This is a commonpractice that must be eliminated. These instruments, the B≤, C, E≤, or A≤clarinets, should tune reasonably well, and be in good repair. Pads shouldseal, springs should not be so strong as to cause difficulty for the studentand mouthpieces must not be too resistant or too open to blow comfortablywith a medium no. 3 reed.Hand problems or injuries, major or minor, are often the result ofyoung students working with instruments too large or in poor repair.Consider the lack of frequent rest periods as a prime contributing factor inhand and/or finger injuries. Those who practice Monday, Wednesday andperhaps Sunday may find themselves in grave hand, finger, reed, breathingand posture difficulties. A sudden escalation in practice time minus thenecessary additional resting time must be considered detrimental. Excessivetension or pressure in the fingers, hands or arms can cause muscles tooverwork. When practice time is extended, overall resting time should besimilarly increased.Springs that are too heavily tensioned must also be considereddetrimental. An adjustable thumb-rest improperly positioned or minus theappropriate cushion may be considered a potential hazard. A non-adjustableor an adjustable thumb-rest in an improper position can be devastating to aclarinetist’s hands (especially to the young). Hanging a bass clarinet froma neck strap as opposed to using a floor stand, peg, or a preferred shoulderharness is a consideration to be examined early in one’s training.The basis of serious overuse can occur early in the young artist’straining. A neck strap may be a valid, serious consideration for thebeginning or intermediate player.Starting the young student too soon, generally under age eleven, will ofteninvite hand and/or finger problems of a serious nature. If, for some obscurereason, the clarinet must be played at so tender an age (unless the studentis in a stage of advanced growth for his/her age), the student should beginon a carefully set-up, easy-blowing E≤ clarinet, with springs appropriatelyadjusted (light). The first mouthpiece must be relatively easy to play and acompatible reed and barrel should help maintain the gentle resistance, color,and intonation of the clarinet. Well-seated pads are a must.The weight of the E≤ clarinet on the right-hand supporting thumb isconsiderably less devastating than the weight of the B≤ clarinet and the fingerstretch is much less taxing. A Vandoren 5RV Lyre mouthpiece, for instance, orother mouthpiece brand of similar facing and an appropriate reed should workwell if it is not overly resistant. Remember, all 5RVs are not alike, and neitherare all no. 3 reeds. A more fundamental and positive approach in avoidingearly hand problems in a very young, eager, beginning clarinet student is atemporary shift to piano or recorder for a year or longer; then, on to the E≤clarinet and finally the logical progression to C or B≤ clarinet when the handsare more reasonably developed. These instruments may be rented throughcatalog houses or major city stores.For players, teachers, and students, it is not difficult to discover aproblem in the making, or to notice an already existing problem flaring up.Early manifestation of naked abuse or overuse damage may not be devastatingpain. Perhaps the only sign of a problem may be stiffness or numbness eachtime the clarinet is placed in a playing position. At this point, there may be nopain; nevertheless, a trip to the hand doctor could be your best move. Pain at aspecific place that occurs only while playing or writing is a possible indicatorof overuse. Try to solve these problems before pain spreads into multipleareas. Seriously consider long rest periods.Eventually, the pain, if not resolved, may extend beyond clarinet playingand spill over into daily functional activities. Simply carrying weekly staplesfrom the supermarket could be enough to aggravate an overuse problem thathas already begun. Again, it would be prudent to consult a hand specialist at aqualified facility such as those found in most major cities. Lifting, pushing orpulling items of any consequential weight should be assumed off limits.Remember that playing the clarinet requires many, many joints andmuscles in the elbow, wrist, forearm, palm, and fingers be brought intoaction. These ligaments, muscles, tendons, bones etc. must shape up (i.e.,be trained to function at their most extreme levels of development). Considerchanging a tire, pushing a vehicle, lifting weights, etc. off limits. There areother exercises that can take up the slack. In fact, B≤ bass, EE≤ contra-alto andBB≤ contra-bass clarinets should be carried in a backpack or wheeled, andplayed while resting on an instrument stand.Before playing, the following studies should be dry run (perhapsholding the clarinet in the hands, not in the mouth, then reading, singing andfingering the study). This procedure will avoid much lip wear and tear.Establish fingering positions, hand and arm positions, light fingerpressure and a firm embouchure at the beginning of each study.If a very young student or adult with unusually small finger pads isunable to cover properly the clarinet ring-holes, there is a Bb clarinet currentlybeing manufactured by Leblanc (Vito model) that may remedy the problem.It is called a B≤ Plateau Key clarinet with a 0.584 bore, nickel-plated plateaukeys and is made of ABS plastic. Perhaps this may solve a major problem forcertain individuals. It is notable that during the 1930s the French firm MartinFreres of Paris made Plateau (covered key) clarinets.A simple test that can be performed by players and their repairmenconsists of placing the clarinet in front of the player as normally done whenfirst assembling the instrument. Assemble the instrument setting the lower joint1/8 beyond point zero (away from the body for players with long fingers). Therepairman should then adjust the 1/1 bridge key cork connection to once againline up the upper and lower joints. If the adjustment was inadequate, repeat thesame test but realign the upper and lower joint connection an additional 1/8off center and once again line up the upper and lower joints. The setting maybe correct after the second adjustment of the cork.Those with short fingers should repeat the same test but reverse theprocedure by turning the lower joint connection an additional 1/8 off centerand realign both upper and lower joints, adding or removing cork from thebridge key as necessary. Remember, for short fingers rotate the clarinet jointtoward your body.Assuming twelve minutes a day is insufficient time for math or languagehomework, neither will this amount of time suffice for mastery of the clarinet.Always aim for the best sounds you can produce. Remember: light fingers,firm lips is the way to go.