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19985825

The Complete Scale Compendium for for Clarinet

By Larry Clark

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Woodwinds Clarinet in B-Flat, piano
Composed by Larry Clark. Back To School. Form or another. The mastery of scales and scale patterns has long been established as the best way to improve technical abilities on all of the instruments. This collection of scales and scale patterns is designed to be thorough, but by no means comprehe. Student book. With Standard notation. 64 pages. Carl Fischer #WF173. Published by Carl Fischer (CF.WF173).

Item Number: CF.WF173

ISBN 9780825896866.

Scales, in one form or another, are the main basis of music. The mastery of scales and scale patterns has long been established as the best way to improve technical abilities on all instruments. This collection, designed to be thorough but by no means exhaustive of all possibilities, focuses on what is most common in the study of classical music: core major and minor scales, as well as chromatic, pentatonic, whole-tone and blues scales. Students will learn the construction of these scales while practicing unique patterns, enriching both their minds and technique. Specific slurs and articulations have been left off of the exercises so that a multitude of different articulation and slur patterns can be used. Each key has been presented in a pedagogical sequence from easiest to most challenging, beginning with whole-note scales before patterns are introduced. As an added benefit, the exercises are presented in two ways: by scale pattern and by key. Teachers and students can organize practice time to focus on learning new scales, or to master all scales in a single key. This unique approach suits different technical levels and will help build solid fundamentals while introducing theoretical principles. The Complete Scale Compendium is a perfect book for developing technical facility and musicianship.
form or another. The mastery of scales and scale patterns has long been established as the best way to improve technical abilities on all of the instruments. This collection of scales and scale patterns is designed to be thorough, but by no means comprehensive. The focus of this book will be on what is most common in the study of classical music, and that is major and minor scales, plus some other scales like the blues scale, major and minor pentatonic, whole-tone and chromatic scales. Jazz musicians have long used the study of modes as the basis for improvisation. This book will introduce the modes of the major scale and the melodic-minor scale, but will not go into extensive patterns built around these modes. There are other books specifically focused on the study of modes for use in Jazz music, and so this book will not make modes the focus of this volume. It is the goal of this book to teach the student the construction of the common scales and then provide some patterns for learning these scales in a variety of ways. Specific slurs and articulations have been left out of the exercises, so a multitude of different articulation and slur patterns can be used. Later, there will be articulation examples that can be used with each of the exercises, but this is only a starting point as there are countless variations that can be developed to help with the mastery of these scales and scale patterns. Each key has been presented in a more or less pedagogical sequence from the easiest to the most challenging, starting with a whole-note scale then moving on to more difficult patterns. It is very important to start every exercise slowly at first, making sure that you have complete mastery of the pattern before increasing the tempo. Do this by using a metronome and then increasing the speed of the exercise a few clicks at a time, until you can play each of the exercises in every key at a quick tempo with smooth facility. If you find as you increase the tempo that you make mistakes or that your playing becomes uneven, then go back to the start and work to make sure your technique is accurate. Speed really does kill, and the worst thing you can do is to go too fast too soon. Each of the keys major and minor is presented in two different ways. This author believes in the organization of these types of exercises in the circle of fourths, starting with C, then F, then B? etc. around the circle. Learning each of the scale patterns in all twelve keys major and minor without stopping is the best way to improve your technical abilities. There are, however, many teachers who believe that studying one key at a time is a good way to master scales as well, and so this book has all of the major and minor scale patterns organized both ways: each exercise in all keys and all exercises by key. Both presentations are valid, and this book is unique in that it includes the scale patterns in both ways. The special scales, such as blues, major and minor pentatonic, whole-tone and chromatics, are only presented with each exercise in all keys on one page. Minor scales in this book are presented in the melodic-minor form, because it covers two of the three forms of minor scales within it: the melodic minor with a raised sixth and seventh scale degrees when ascending and the natural minor (Aeolian) when descending. It is suggested that you practice the minor-scale exercises in all three forms of minor, including the harmonic form (raised seventh). You can accomplish this by playing the exercises as follows: 1. Natural minor: ignore all the accidentals on ascending scale, 2. Harmonic minor: ignore the accidental on the sixth scale degree ascending and add the raised seventh scale degree descending, 3. Melodic minor: play as written. With diligence and careful practice, the student can improve greatly using the scales and exercises found in this book. Again, go slowly at first and speed up only when mastery has taken place. Mix up your routine so that you do not become bored during your practice sessions and use every possible articulation and slurring pattern you can think of to be as prepared for any music you will encounter in the future. There are no shortcuts to success when it comes to scales, just persistent and careful study. Remember, practice doesnt make perfect, perfect practice makes perfect! Good luck.

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