Clarinet Lessons For Beginners | Todd Porter | Skillshare

Clarinet Lessons For Beginners

Todd Porter, Professional Music Educator

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39 Lessons (2h 10m)
    • 1. Clarinet Lessons For Beginners

      1:24
    • 2. 4 Essential Elements of Music

      4:18
    • 3. Notes, and the musical alphabet

      1:38
    • 4. Harmony

      4:30
    • 5. Melody

      0:40
    • 6. Rhythm

      2:15
    • 7. Clairnet Setup and Buyers Guide

      6:24
    • 8. Learn how to put the clarinet together, make your first sound, and play

      8:02
    • 9. Clarinet Practice 1

      4:30
    • 10. Learn all of the notes in the A major scale

      2:55
    • 11. Clarinet Practice 2

      7:53
    • 12. Learn the first melody for music coach song

      3:20
    • 13. Clarinet Practice 3

      2:35
    • 14. Learn how to play the A major scale ascending and descending (up and down),

      3:08
    • 15. Clarinet Practice 4

      8:17
    • 16. Learn how to play the bass notes for the B section of the song, and how song sections work together

      3:42
    • 17. Clarinet Practice 5

      4:20
    • 18. Learn how to play the melody for the B section of the song

      3:30
    • 19. Clarinet Practice 6

      3:11
    • 20. Learn how to change your role during the B section from lead to accompaniment.

      1:47
    • 21. Clarinet Practice 7

      2:23
    • 22. Learn how to change your role during the entire song from lead to accompaniment.

      2:13
    • 23. Clarinet Practice 8

      4:10
    • 24. Learn how to play your first scale pattern

      3:24
    • 25. Clarinet Practice 9

      4:44
    • 26. Learn how to play your second scale pattern

      3:57
    • 27. Clarinet Practice 10

      6:03
    • 28. Learn how to play embellish the melody as part of your solo

      2:55
    • 29. Clarinet Practice 11

      3:05
    • 30. Learn how to put all the skills together, melody, solo, and accompaniment

      1:49
    • 31. Clarinet Practice 12

      4:44
    • 32. Jam Room 60bpm

      4:39
    • 33. Jam Room 80bpm

      3:30
    • 34. Jam Room 100bpm

      2:48
    • 35. Welcome to the Music Coach Duo Series

      0:55
    • 36. Clarinet Piano 1

      5:13
    • 37. Clarinet Piano 2

      2:31
    • 38. Clarinet Piano 3

      6:46
    • 39. Sax Clarinet

      5:15

About This Class

This is the perfect place to start for beginner clarinet players! Take all the guess work out of how and what to practice. This program comes with specially designed practice videos for each lesson.

Learn To Play The Clarinet Quickly And Easily 

-Learn the basics of how music works with fun easy to understand animated videos.

-Use a proven system to take all the guess work out of what to practice.

-Gain the confidence to play your clarinet with others.

-Enjoy learning at a pace that is right for you.

Start Playing And Creating Music To Express Your Musical Self

You will learn everything you need to know about the clarinet, from how to put it together and make your first sound, to how to play the clarinet in a band! This course also focuses on how to express yourself through music by teaching beginner improvisation (soloing). The goal of The Music Coach Clarinet Program is for you to fully express who you are through the instrument.

Content and Overview

I designed this program to help you begin your musical journey on the clarinet in the most efficient and fun way. This program is suitable for anyone who has a desire to play and has a working clarinet. There are over 2.5 hours of video lessons and practice videos.

The layout of the course uses a simple format:

-1 lesson video that explains a new concept/technique,

-1 practice video that has voice overs and graphics to help you play along with the teacher on the screen in "real time".

There are twelve sets of lessons and practice videos that help you learn melody, rhythm, harmony, and improvising. This program also contains a "Jam Room" with a virtual band that you can play along with at different speeds. As an added bonus there are also five music theory made easy animated videos that explain the basic building blocks of music.

At the end of this course you will have the confidence to play the clarinet both on your own and with others in different musical situations.

Transcripts

1. Clarinet Lessons For Beginners: Welcome to the Music Coach online clarinet program, where I'll take you through the entire process of learning how to play the clarinet from scratch. My name is Todd Quarter, and I'm a professional musician and educator from Canada, where I've been teaching and performing for the last 15 years. Theme Music Coach program has been designed to get you playing with other people as quickly as possible, because the rial joy and music is being able to express yourself with other people, listen and interact. And so the whole course curriculum has been designed around this idea of teaching you how to play the instrument, but at the same time teaching me how toe have the skills you're gonna need to play. By the end of the course, you're gonna have the confidence to grown up friends and family and other people who play and get a jam session, because the goal is to get you playing with other people as quickly as possible. Program starts by learning how to pick your first instrument. You need to rent it or buy. It helps you move through how to put it together, make your first sound and learn how to play some scales and rhythms and harmony so that you can interact with other musicians as quickly as possible. This course is designed for complete beginners who are looking for a way to get into the musical game in a fun, fast and friendly way. You've always dreamed about playing the clarinet and just not knowing where to start when you come to the right place. Thank you for your interest in the Music Coach online clarinet program, and I hope you're as excited as I am to get started. 2. 4 Essential Elements of Music: What is music? Music is the language of the planet, spoken by every society since the beginning of time. Music is a vibrational language that allows us to convey complex ideas that spoken or written language alone cannot adequately express music gives us an almost unlimited vocabulary for communicating emotional information through sound way. Are all born musicians Theo Idea. That some of us are musicians and some of us are not is so far from the truth. It's laughable. You are made of music. Your heart is beating steadily in your body, keeping the rhythm of your life flowing. Your ears and voice are constantly working together to shape your experience through the sound you make and sounds. You hear it is all music, therefore, essential elements to be able to play music on any instrument. They are rhythm, harmony, melody and your passion for music. To explain these concepts, we're going to use the analogy of a train train itself is you. And the passion that you have for music is the boiler. Inside the train, you were born with the deep passion for music, like every other person whose ever been born and come before you and everyone who will come after you now you might be saying yourself, I have no passion for music or I can't even remember a time when I did thistles just simply because it got extinguished in you. And the good news is it could be reignited and made to burn hot and passionate again. The key to starting any good fire is to start with the right amount of fuel and a little bit of air. This is the same in music. One of the biggest problems people run into is they get overwhelmed. This is like putting too much wood down and trying to light it with one match. A roaring fire always starts out small, and it's helped, along with just the right amount of fuel at the right time and a continuous flow of air fire and the boiler of your train is the single most important part of your musical journey . Now, for a train to go anywhere it needs to go along a track. You can't just have a train in the middle of nowhere, with no track and get a fire burning hot and expected to go somewhere. A railroad track has three main elements. Railroad ties, which are the wooden beams that go along the ground. And two tracks, one on either side with trains. Wheels sit on rhythm is like the railroad ties, which are evenly spaced and allow for the stability for the train to move. Once the tracks are in place, railroad ties air spaced in a way that is even and breaks up the distance between two points so that time can be felt in a consistent way. If you put your train on top of just railroad ties, you're not gonna be going anywhere, so let's have the next piece of track. Harmony is the piece of track that runs alongside the railroad ties. It's fastened securely to them, which allows the rhythm to pass freely underneath harmonies most often expressed as cords. Cords air simply a grouping of three or more notes stacked vertically. The most common use of them, his major and minor. Most people experience major chords, is sounding happy, and minor chords is sounding sad. Almost all music that you've heard on the radio or on television and in movies is made up of major and minor courts. Melody is the piece of track on the other side. Opposite the Harmony, the melody is the most recognizable and distinctive part of any song to songs can have the same rhythmic and harmonic structure, but melodies are completely unique to the song from which they come from. When you think of a famous song in your head, most likely you're thinking about the melody. A melody is just simply a pattern of notes moving up or down involving the rhythm and interacting with the harmony that is connected to once you have these three elements of track of railroad ties, which of rhythm Harmony, which is one of the tracks in the melody, which is the other track your train can now roll along. Then all you have to do is keep adding more pieces of track your train control further and further faster and onward in your musical jury. 3. Notes, and the musical alphabet: throughout the world. There are many different notation systems in music in Western Europe and North America. We use a 12 tone system with the musical alphabet toe. Understand the 12 tone system. We first need to understand how we measure the distance between two notes, their two main distances used in our system. They're tones and semi tones. The easiest way to see and understand tones and semi tones is on a piano. A piano is made up of white keys and Blackie's, and a tone is the distance between two white keys with a black in the middle or between two black keys with a white key in the middle. A semi tone is our smallest unit of distance, which is between a white key in a blackie or between two white keys where there is no black he in the middle. All scales and music are simply a pattern of tones and semi tones that repeats. The most common one is the major scale, which goes tone, tone, semi tone, tone, tone, tone, semi tone on a piano. If you start this pattern on, see, there's no need to use any black keys because the pattern is built right into the keyboard of tone, tone, semi tone, tone, tone, tone, semi tone. If you start the pattern on any other key, however, you need to use the Black Keys to maintain the pattern. This is why we have sharps and flats to make up the 12 different keys inside of the system . 4. Harmony: harmony like the universe itself, is all about relationships. We're alive right now on Earth because of its relationship to everything else in our solar system. Any two notes played at the same time are considered harmony. Sound travels in waves that are measured in Hertz hurts measures how maney waves per second a note is generating a string on a guitar, for example, vibrates 440 times per second. Lower notes vibrates slower and higher. Notes vibrate faster human ears can hear in a range of approximately 31 hurts. Up to 18,000 hertz dogs, for example, can hear a much larger range. They can hear from 40 hertz all the way up to 60,000 hertz when two or more notes air played. At the same time, the sound waves interact with each other, creating two states of dissonance and continents, more commonly known as tension and release. Imagine the sound waves are like dolphins jumping in and out of the water notes that Aaron dissidents or tension never line up evenly so that the pattern of the dolphins being in and out of the water is never in complete alignment. This is a physical event and why some people experience tension in music as very uncomfortable. This technique is often used in movie soundtracks to enhance the sense of unease. Continents or release is having the dolphins come into a pattern where sometimes or all of the time they're at the top or bottom of their pattern together at the same time, much like our preference for spicy or sweet tastes, we each have a sense of how much tension and release we like in our music. And like a sense of taste, it can evolve over time, depending on what were exposed to the fact that there are no wrong notes is not just a spiritual state of mind. It's a fact. All that exists is tension and release or dissonance and continents and how much you enjoy . He is entirely up to your own sense of personal taste. Cords are organized harmony. Harmony is used most commonly to make up chords that air called triads. They're just simply cords that have three notes in them, cords are built like houses. There is a foundation which we call the route the third, which is like the main floor and the fifth, which is like the second floor of the house. The route is the note that gives Accord its name. For example, in a C chord, the route is see. The third of the note is the third note in the scale, so see is one is to and is three. The fifth is the fifth note in the scale. See is one D is to his three, Fs four and G is five. There are several different types of chords. The two most common are major chords and miners. What makes a cord major or minor is the relationship of the third to the root of the court . When it is closer to the fifth than the route, it is major, which is like moving the main floor of your house up slightly when it is closer to the basement, where the root it's minor. The way you move a note, closer or further away, is with sharps and flats to change a C poured from major to minor, you change the third, which is E. T. Flat. Most people experience major and minor chords by hearing them as happy sounds for major on and sad sounds for minor. It's always good to remember that music is a language that you were built to speak. And even when you're working on something that's a challenging concept, just know that with enough time and practice you'll be able to master it. 5. Melody: melody is the part of songs that most people identify with, since there are so many harmonic and rhythmic combinations melodious the most distinct part of any song. Close your eyes and think for a moment of your favorite piece of music. Chances are you're hearing the melody in your head. A melody is both rhythmic and harmonic, and if it is well constructed, it could be sung or played on its own and be clearly understood. Simply put, a melody is a string of notes and rests that move up and down in relation to the harmony underneath it. 6. Rhythm: rhythm is a word that has many meanings in music. This could be the source of unnecessary confusion for students. When they first begin. You may have heard the words time and tempo used in the same way. Let's break this down into the essential elements. Tempo is like a river. Think of a river for a moment. It usually flows at a constant pace, but it's not rigid or mechanical. When humans make music, it is a goal to be as consistent as possible with the tempo. But in reality it's alive, and it has subtle shifts, like the flow of a river Rhythm is how we interact with flow of this river. Imagine sticking your hand in the flow of the river for one second and then pulling it back out. Then imagine doing the same thing for two seconds and half a second. This is the equivalent to playing notes of different lengths. The river is constant, but how long we play the notes for is what makes it in the music. Rhythm is the most mathematical part of music education, but fear not. There is nothing more advanced than simple addition and subtraction involved. Imagine your favorite type of pie for a moment. Now, the size of the pie is constant. No matter how we slice it, the pie represents a bar of music. If you eat the whole pie yourself, it's like playing a whole note, which takes up the entire bar. If you invite a friend over and cut the pie in two, you have to half notes. If you cut it again, you have 4/4 tones. Cut it again and you have 8/8 in music. All time has to be accounted for again. Think of the pie if you have a pie and you cut it into 4/4 and you only want to eat one of the quarters. The other 3/4 still exists because the whole pie was baked. This is the same in music. So wherever there's not a note played, there has to be arrest to take his place. So each of the note values in music of whole half quarter eighths and so on all have rests that last for the same amount of time 7. Clairnet Setup and Buyers Guide: and welcome to the set up on buyer's guide for the clarinet. When you get he started with playing the clarinet, there's a few things to consider, the first of which is usually should I rent an instrument or by it? I get this question all the time for my students. When getting into any new instruments I often recommend. Renting is a good option, especially if you live in a large urban area where there are more than one big music store to go to. Most of those music stores will have some kind of rental program, and the cost of a rental for an instrument like a student or intermediate clarinet is going to be very affordable, usually in the $30 a month range, and it often is even less expensive if you commit for six months or an entire year. What this allow you to do is really try out the instrument. You can try out more than one clarinet. You could try out one for a month and take it back in and try a different one. This will give you a chance to get comfortable with the instrument. The main difference between ah student clarinet and intermediate or advanced ones is what the instruments actually made off. The clarinet traditionally was always made of wood, even though it's very dark, it's it's usually lacquered or painted, but they're usually made of wood, and those are at the high end and are quite expensive. Professional clarinets can be quite expensive to get into, and student level clarinets are simply made of plastic, and this clarinet is made of plastic. It's a student level clarinet, and it sounds really good, Um, and his plays very consistently. But you would notice the difference between this and a professional one if they're played side by side. Professional level clarinet will have a lot more warmth to the sound, and a student level clarinet will be a little bit more, Um, not harsh sounding, but it'll have less of the dynamic sound because it's passing through plastic instead of wood. When you're getting into buying clarinets, there are three main price levels, like there are for almost every instrument. There are student level instruments and then above that are intermediate and above that or professional level. In this student level price, you're looking at a beginning price of around 4 to $500 for student level clarinet going up towards six or $700. And inside that range, there'll be some variation and quality. I like to suggest always that try never to buy the very cheapest thing, because if there is cost cutting going on from the manufacturer, you'll see it the most right at the lowest price point. So if you can afford to go up even 50 or $100 above the cheapest thing you find, usually you'll get a big jump in quality intermediate clarinets. Start in the 7 to $800 range and go up to $1000. And you'll just have MAWR durability a little bit better sound. The pads that are on the clarinet will usually be of a higher quality, and the mouthpiece will usually be a bit better as well. And professional level clarinets are almost always made of wood and start above $1000 go up into the many thousands of dollars. A clarinet is a very delicate instrument, so when you're handling it, it's really important not toe squish down on any of the rods now or any of the springs and when you're taking it apart and putting it together always be very gentle. Always like to think like I'm handling, you know, a very delicate thing, not quite as delicate as an egg, but you know around that delicate. Whenever you have any instrument, it's always good to plan for some regular maintenance. Ah, clarinet that's being played on a regular basis. You should probably plan on once a year, taking it into have it serviced. Um, there just some basic wear and tear things that happen on all the wind instruments. So the pads are going to get corroded because you're blowing air through and they're getting wet and then they're drawing. Um, they don't always all need to be replaced every year, but the ones closer to the top will need to be replaced more often, and any good repair technician will just have a quick look at it, and they'll just still know which ones need to be replaced. Also, if any of the rods or springs become bent or loose, they'll be tightened up. Having your instrument play really well is a key component to, uh, keeping going with your practicing and playing and being excited about it. If you're ever frustrated and the sound is just not really working, it's good to take your instrument in and make sure that there's nothing mechanically going wrong when you're starting out playing clarinet. Another thing to think about is what kind of reads you're gonna use so much like a saxophone. A clarinet has a read, and they're measured by the thickness. Now I happen to use Rico Royals. I'm not an endorser of their product and work for them or anything. I just that happens to be my choice of read company that I like. But there are many different re companies. Most of them use a number system for rating how thick the reeds are. And in the case of Rico, they started one and it goes up to five. And in between, there's one, and then 1.5 to 2.5, um, five being the hardest in one being the lightest. Now, I would suggest for any beginner, even though it starts at one, I wouldn't buy number one or 1.5 reads. They're so light and flimsy that one they don't last very long, and to there you don't need them to be that light, even for a beginner. So I recommend starting with the two or 2.5. And the reason for having the reeds get harder as you get more more comfortable is that it allows you to have more volume. So if the reed is really light and you blow really hard, it'll either split or you'll get a lot squeaking. So as you're breathing, muscles get stronger and you get more comfortable on the clarinet. You can handle thicker and thicker read. It also depends a little bit on what musical situation you're in. So I have different reads strength. Sometimes if I'm playing a clarinet and I'm gonna knowing to be somewhere in a loud situation where I need to really project all put on a heavier read. And if I'm in a situation where I need to be a little more quiet, I'll change my read to something else. 8. Learn how to put the clarinet together, make your first sound, and play: I welcome the week one of clarinet lessons in the Music Coach program. Today we're gonna get started on a really exciting journey of playing the clarinet. The clarinet is a really interesting instrument that is a blending of very old technology and sound and some more modern ideas. Originally, wind instruments, which the clarinet is part of that family because we make the sound with wind were simply hollowed out pieces of wood that we're usually flutes or recorder like in that they're just holes in a tube and you blow through and the clarinet started to add in some springs and metal keys that could control more things than your fingers could get to. And this makes the clarinet a really interesting bridge instrument. That sort of connects very old ideas with some more modern ideas. The first thing we have to do is to build to assemble the clarinet. The clarinet is comes in five different pieces, so it takes a little getting used to how to put it together. So first things first. Always make sure that your latches are opening up this way. You know that the clarinet is sitting properly in the bottom part of the case. If you open it upside down, it'll tumble out on you. So as you can see, the clarinet comes in many different pieces, and we're gonna look at each one and assemble it together. There are two main body pieces. There's the top part, which has a thumb hole on the back and an octave key on the back, and that's going to be played by your left hand, the bottom part of the body, which has a thumb hook and that's played by your right hand. This is the very bottom cone. It doesn't have any keys on it. The barrel which the mouthpiece connects to you, and it has, ah, larger opening and a smaller opening. It's important to notice that so that the mouthpiece goes into smaller opening and then the actual mouthpiece itself, which has a redcap, which is just to keep the read from getting damaged. A ligature, which also has a large opening and a small opening and holds the read to the mouthpiece. The read, which is a small piece of wood that we use to get the sound happening and the mouthpiece has some cork on the end, the first thing we're gonna do is assemble the bottom bell section to the bottom part of the body. And to do that, we're just gonna connect them like this and twist. Make sure not to squeeze too hard on the body when you're twisting. And if the cork is really stiff, you can use something called Court Greece, which should be in your case, it looks like a little chapstick and you can apply it any of these cork sections and it will help it go on a little smoother. Next, you're gonna assemble the barrel to the top piece and again, look for the larger opening and just sort of gently twist them together. Now we're gonna assemble the top section and bottom section together. Once they're assembled, you're looking to make sure that the whole thumb hole and some hook are lined up on the back. Once it's assembled to this point, you can rest it on the ground on the bottom piece. Now we're gonna assemble the mouthpiece to read in the ligature. We'll start by getting the read a little bit wet, and if it has a warp in the tip of it, which can happen especially in the wintertime. When it's dry, you can place it on the flat part of the bottom of the mouthpiece. Once it's wet and rub in some of the moisture. It's okay if it's warped. It's just that it's dried out and shrunk a little bit because this is made of wood. Once it's flattened out, you're just gonna try and line up the very tip of the read with the tip of the mouthpiece. And at this stage, you don't have to get a perfect just get it close and then take your ligature and make sure you have the large opening going on first and you're gonna slide it down until it's snug. Now we're gonna get it just perfect. The reed has to be right at the tip like that. Once you have it in place, just tighten screws on the ligature, and now we're ready to attach the mouthpiece to the body and just hold it by the barrel so that you don't twist the body and just twisted into place. And once you're at this stage, the mouthpiece, some hole and thumb hook should all be in alignment. Now we're ready to make your first sound Making a sound on wind instruments requires you use a lot of breath. So there's breathing exercises that are gonna happen before each practice video and really make sure to do them because it's gonna help give you the lung capacity you need to really play the instant. What I want you to do is you're gonna rest your teeth on the top of the mouthpiece about an inch or three centimeters in from the tip and you don't want to bite down. You just want to rest your teeth there so they have somewhere toe be resting. And then I want you to close your mouth around the mouthpiece, making sort of an O shape, and you're gonna tighten to the point where no air can escape when you push out. And when you take a big breath in, remember to keep your cheeks in and keep the angle of the instrument pointing down and remember to hold the thumb hook on the bottom. And right now, you don't need to hold any other fingers. Just the somebody. We're also gonna learn the 1st 3 notes for the practice video. Your first note is going to be A to play A you're gonna cover the thumb hole, cover the first hole in your left hand, the second hole in your left hand and the third hole in your left hand, and then the first hole in your right hand and the second hole This makes a Yeah. Our second note is going to be be simply, lift up your pointer finger in the right hand. Ah, and 1/3 note is C sharp. So you're gonna lift up your bottom fingers and play the C sharp key, which is controlled by your pinky in your left hand. Now, the trick is is when you go from B to C sharp, you want a lift up and pushed down at the same time? This takes a little getting used to try it slowly. So here are three notes Ah, uh ah Oh! All right. Excellent work. And we'll see in the practice video 9. Clarinet Practice 1: We're gonna play whole notes for the 1st 3 notes of our scale, which are a B and C sharp. Take a big breath in and hold and a, um Now, take a big breath in and played be Ah! Oh, Now take a big breath in and play C sharp. We're now going to do the same thing. Using the click track, You're gonna play a for four beats, take four beats, rest play, be for four beats, take four beats rest and play C sharp for four beats. 12 ready. Begin a for an arrest. One, 23 Here comes B and foreign Arrest one to get ready to play c sharp and C Sure 34 Let's do the same thing again. 12 Ready? Play a what for Arrest. 1234 Nutley, Be one Arrest 1234 Napoli! See shirt one. For now, we're going to do the same thing using half notes so they will get to beats. Will rest for two beats be will get two beats, arrest for two beats and see Sharp will get two beats and rest for two beats. One to ready. Begin okay to rest, too. Rest to rest to do the same thing again. 12 Ready? Begin. They rest too. Rest to see. Sure. Rest to now we're gonna do the same thing and take the rests out. So each note will get two beats. 12 Ready. Begin. Sure. Let's try it again. 12 Ready. Begin a Let's try one more time. 12 Ready. Begin. Sure. Now we're gonna play quarter notes, so each note is gonna get one Beat 12 Ready? Go. Sure. 12 Ready? Go. Sure. 12 Ready? Cool. Sure. 12 Ready? Go. Sure. Good. Try going up and down. 12 Ready? Begin. Ah, sure. Being a same thing again. 12 Ready? Go! Sure. The same thing again. 12 Ready? Go! Sure. A straight one. Last time. One, two. Ready? Go the pain. See? Sure. 10. Learn all of the notes in the A major scale: I welcome back Thistles, Week two of clarinet lessons in the music Coach program. This week you're gonna be learning how to play the rest of the notes that make up the A major scale. Everything in this program is based around the A major scale. So all of the bass notes and harmony, as well as the melodies that you're gonna learn and the improvising is all going to be using this order of notes. So we began by having the 1st 3 notes, which were a B and C sharp. The next note we're gonna play is D, which is from the C sharp. You're gonna lift up your pinky finger and your ring finger in your left hand at the same time. So D has the thumb and the 1st 2 fingers in the left hand. It sounds like this to play E, which is our next note. You're gonna lift up the middle finger in your left hand. So now we have just the thumb and the pointer finger to Blake F sharp. You're gonna lift up your thumb. So now all we're left with is the pointer finger now balancing the instrument when you start having very few fingers involved can be a little difficult. Try and remember that the point of balance on a clarinet is between your mouth and your thumb. So you should be able to hold the instrument completely like this. Now to play G sharp, which is our next note. We're gonna lift up the pointer finger and play the side key in your left hand, which is here. Now the trick is is moving in one motion. So you're letting go and rolling like this g sharp. And then our final note is the high A, which is the top key right here and again. We want to roll. You can feel the keys around it a bit so you can roll into that position. Uh, here are new notes. Again, we have d ah mm, right f sharp, g sharp and a If you're not sure what whole notes, half notes and quarter notes mean check out the rhythm video that goes before the course. It explains all that in detail. It's very simple counting involved, and you just have to listen for the click track to know how many beads each note gets. Keep up the great work and we'll see in the practice video 11. Clarinet Practice 2: now learn how to play the rest of the notes that make up the a major scale. We're going to start by playing whole tones on D E and F Sure take a big breath in and play a d. Um, Now, take a big breath in and play E. Now, take a deep breath, simply f sharp. We're gonna do the same thing using whole notes with the click track. So each note will get four beats and then the B four beats rest. 12 ready? Begin 34 No rest 234 Now e 1234 and arrest one to 34 now f sharp. 1234 and rest. Now we're gonna do the same thing again. One to ready. Begin. D 13 Rest one to 34 e 1234 Rest. One, 234 f sharp. 1234 Now we're going to do the same thing without the rest between the notes. 12 Ready? Begin. D one e 41234 Stood again. One, two. Ready? Go! We're gonna play the final three notes that make up the a major scale f sharp g sharp and a to use the same technique. Start by putting a long tone on F sharp and now long tone on G sharp. The long tone on High a E and now we're gonna play them as whole notes with four beats. Rest in between them. 12 Ready? Go F sharp. 1234 Rest one to 34 g sharp. 134 Rest 1234 A 1234 outs Tried again. 12 Ready? Go f sharp. 34 g sharp. 1234 a 1234 Now let's play them without the rest in between. One two. Ready? Go F sharp. 134 g sharp 134 a 1 3/4 Tried again. 12 Ready? Go f sharp. 1234 g sharp. One, 234 A 1234 Now let's play D E and F sharp as half notes. So two clicks for each note with to click. Break in between one to ready go d one rest to E one. Rest to F sharp. One. Teoh. Let's try it again. 12 Ready? Go D one rest to e one rest to F Sharp now has tried without the rest in between. 12 Ready go D won t shirt. Let's try it again. One to ready. Go d one e one. Effort one. Now let's play D E and F sharp as quarter notes. One click for each note. 12 Ready? Go. Thank you. Sure. 12 Ready? Go. Sure. 12 Ready? Go. Sure. 12 Ready? Go. Sure. Now we're gonna play f sharp g sharp and a as half notes with a two click break Then without the break And then his quarter notes 12 ready. Go f sharp to rest too. She sure to rest too? A to rest to Let's try sending again. 12 Ready? Begin half sharp to rest too. She sure rest you a rest to Now we try the same thing without the break in the middle. 12 Ready? Go after she shirt a same thing again. 12 ready? Go f sharp to G sharp a one more time. 12 Ready? Go after she shirt a Now we're gonna play f sharp g sharp in a as quarter Notes 12 ready? Go half shirt. Sure. A 12 Ready? Go F sure she sharp a 12 Ready? Go half Sure. Sharp. A 12 Ready? Go on Two. Ready? Go! After she sharp a 12. Learn the first melody for music coach song: Hi and welcome back. This is Week three of clarinet lessons in the Music Coach program. This week you're gonna learn the first melody that makes up the a part of our song. Our song is gonna have to different melodies and two different chord structures. And each time we play one of these sections, it's gonna happen to times. So in the backing track in the practice video, you're going to hear the melody happen always in groups of two. Here's what it sounds like. Now the notes when you're first learning them, we're going to be playing them completely out of time, which means we're not gonna worry about the rhythm first. The reason I like to go about it this way is I find that if your mind doesn't know what note it's looking for next, it can't focus on the rhythm yet. So we have to memorize the order the notes go in before we worry about how to line it up with the rhythm of the melody. So here are your notes. You gonna start on C sharp, then play C sharp again, then D then e. Then we're gonna go up to the high a she sharp f sharp f sharp a she sharp, she sharp a she sharp f sharp And then the melody begins again on C sharp. So here it is one more time C sharp c sharp being and a she sharp f sharp f sharp a she sharp she sharp a g sharp f sharp. See? Sure. So in the practice video, you're going to start by playing it with no time, meaning no click track and no backing track. And then you're gonna start to be able to try and play along with the actual backing track , which has a saxophone playing ability. As you go through it many times, try and match or mimic that. What? The Saxons playing as closely as you can. This is a lot like learning to do an imitation. If you've ever tried to pretend to do the voice of a famous person or even maybe somebody in your family is a joke, you try and match it as closely as you can. And the more you hear it, the easier it becomes to do so. I want you to try and focus on mimicking what the melody is doing. The more times that you play it. Make sure to always take a big breath in before you play and trying here, how the melody speaks sort of like in sentences. So we want to breathe and get a lot of air. So we get a whole idea out and then breathe and then start again. Keep up the great work we'll see in the practice video. 13. Clarinet Practice 3: learn how to play the first melody that makes up the a section of our song. First, let's just play the notes in order without the click track. C sharp. Uh, see? Sure, A she sure shirt f sharp And she shar She's shut a G. Sure, sure. Let's try that one more time. See? Sure, Sure, Teoh. You know a G sure f shirt. Sharp A g shar she sharp a she shar f sharp. Now let's try playing the melody along with the track. One two. Ready? Go Now let's try the same thing again. 12 ready? Go. 14. Learn how to play the A major scale ascending and descending (up and down), : I Welcome back. This is week four of clarinet lessons in the Music Coach program. This week we're gonna work on playing the A major scale ass sending, which means going up and descending, which means going down using half notes and quarter notes, which are half notes, get two clicks, quarter notes, get one. You're also gonna learn the bass note order for the a section of the song. And this is a really great thing to know that sometimes wind instrument players don't take the time to know. But it is great because it allows you to play in unusual groupings of instruments cause if I'm the clarinet player and I know the order, the bass notes go in, then a different instrument can take a solo or play the melody, and I've got something I can play that holds the song together. And then finally, this week, we're gonna get you started on improvising, which is one of the really exciting things about music. Improvising has a long history, especially in jazz music, where it began as embellishing the melody. So taking a regular melody and just playing it slightly longer or higher, lower in different ways. and then it evolved all the way into creating completely new musical ideas over top of the structure underneath. And this week, when we get into that section, I'm just gonna have you take the very beginning steps which is making your own note choices while the track is going on underneath you. So you can just literally pick any note out of the A major scale and any rhythm and just play around with it playing the a major scale ass ending. You're gonna play a being C sharp de and F sharp G sharp and A and to play a descending to play a she sharp f sharp Mm de c sharp be and a Now the bass notes for the A section are f sharp, then play low a then D and then e and here's what that sounds like. Ah ah oh! Each bass note takes up a whole bar of music, so it always has to have four beats. So for now, always make sure to hold it for the full four beats and then move to the next note. Also, this week you're gonna be playing the A section melody again, along with the track. Make sure to keep working on that because it becomes a very important part of the next things that are coming up in the program. Keep up the great work and we'll see in the practice video. 15. Clarinet Practice 4: I'm not gonna play the entire major scale using half notes and then quarter notes with the click track. We're going to start by going ass ending, which is up. Starting on the low A to the high. A playing half Notes 12 Ready. Begin. Sure. Let's try that again. 12 Ready. Begin. Sure. Great. Mills tried using quarter notes. One with you. Ready? Go. Try it again. 12 Ready? Go. Sure. Now we're gonna play the A major scale descending. Starting on the high A going to the low A using half Notes 12 ready? Go. Try to get one too. Ready? Go Now let's try it. Using quarter notes. 12 ready? Go! Try again. 12 Ready? Go, Theo. Now we're gonna try playing this scale ass ending and descending First with half notes and then with quarter notes. First half notes 12 ready? Go! T shirt a now descending a Sure, and now we're gonna dio ascending and descending with quarter notes. 12 ready? Go! Try that one more time. 12 Ready? Go! You're now gonna play the notes that make up the bass part of the A section of our song The notes You're gonna play R F Sharp, A, D and E. They're gonna be played as whole notes, so each will get four beats. 12 ready? Go after 34 a 41. Let's try that again. 12 Ready? Go after 234 A for D. Let's try one more time. 12 Ready? Go four. Now you're gonna take your first steps towards improvising by playing the notes in the A major scale out of order along with the track. Simply put, just move in a non sequential order, meaning, for example, you could start on a but instead of playing be, see if you can move to a different note like E or F sharp or C sharp. 12 Ready? Go now let's play the melody along with the track 12 Ready? Go Now let's play the bass notes along with the track 12 ready? Go 16. Learn how to play the bass notes for the B section of the song, and how song sections work together: I Welcome back. This is Week five of clarinet lessons in the music Coach program. This week you're gonna be working on playing the bass notes that make up the B section of our song. Now, many forms of popular song use different sections, and sometimes they're called different things. But basically they all function the same way You may have heard the term verse and chorus or bridge and intro before these air just words we use to describe sections of songs in our song we're gonna have A and B And each time they're played they're both gonna be played twice. So our sections are going to go a a B be And we're right now gonna be working on the bass notes for the B section They are lo a mm f sharp and D And here's what they sound like. Ah, nothing we're gonna add This week is tongue ing, which is another word for articulating and on the clarinet because we're using a read your tongue is able to start and stop the vibrating of the reed, which is part of what's making the sound happen. And the way your tongue touches the read whether it's right at the tip or further back changes the way the tongue it's sounding. So if your tongue right near the tip, it's a little bit of ah, harder sound, more of a ta sound and further down on the read with more of the middle of your tongue is more of a dos sound. I like to think of it as Imagine a tap for a minute. If you turned the tap on, it's like the air you're breathing through the instrument and you can turn the tap on and off and completely stop the water and started again. And that's like more of a toss sound where the air is stopping and then starting again. And if you leave the water running and you run your hand under the water, it's more of a dog or a softer kind of sound where the water isn't fully stopping. It's sort of stopping a little bit, but not the same as the tap being turned all the way off. Here's what a top sounds like. Okay, Uh huh, uh huh. You can hear how there's a little space between each note and the longer tongue ing is just interrupting the air a little bit, but continuing the sound all the way through When you're working on playing these bass notes, try these different techniques to start the notes and keep them going and see how long you can hold your breath toe. Make them go as long as they can. You're also gonna work on playing the bass notes is whole notes, which take up the entire bar as to half notes per bar, because we need four total. So if you're gonna play the A two times, you have to hold it for two beats each time and as 4/4. So mixing up these rhythms is a great way as an accompanying NIST, because when you're playing the bass part, you're supporting either a malady or solo. It's a great way to change up what's happening and also to build up the energy by playing Mawr shorter notes, or let the energy become a little more relaxed by playing longer. Now keep up the great work and we'll see in the practice video 17. Clarinet Practice 5: now notes that make up the bass notes for the B section of our tune. The notes are A E f sharp and G. Let's try them without the click track A a F Sharp and G. Let's now try them as whole notes. 12 Ready. Go a 34 f sharp. 234 Let's try it again. 12 Ready? Go three. Let's try them all as half notes. 12 Ready? Go A to A To to I m sure. After two to. Okay, let's try it again. 12 Ready? Go. Hey, you! Day two to to f Sure to you half shirt, too. To game two. Now let's try them. Is 4/4 notes 12 Ready? Go. Ah, uh uh Uh sure, Sure, sure, sure. Dan, Let's try it again. 12 Ready? Go! Mm F sharp. F sharp. F sharp, sharp. Now we're gonna mix up the rhythm by playing a is a whole note. E is to half notes. F sharp is 4/4 notes and D is 4/4 notes. 12 ready? Go. A 234 Me too, to f sharp. F sharp. Dan Dan. Now you're gonna try the bass notes section with the backing Track one. Go now Let's try it one more time, Go or or 18. Learn how to play the melody for the B section of the song: I Welcome back. This is Week six of clarinet lessons in the music Coach program. This week you're gonna learn the melody for the B section of our song. Here's what it sounds like. Thank Thank you. So just like the a section it's gonna always happen twice. So you always play the b section melody two times So we're gonna learn it the same way we did the A section one note at a time Don't worry too much about the rhythm right away To see if you can get used to the order The notes air going in So you're gonna play af sharp f sharp she sharp a a a she shar a she shar after sharp and and after our Here it is again f sharp, g sharp A a a she shar a she shar f sharp. Mm Ah, half shot. Now, one of the things that makes the b section melody different in the a section is where it begins in the form of the song In the a section the first chord and the first note of the melody are lined up together at the beginning of our one in the B section were jumping in in a pickup bar. In the practice video you're going to hear account of four and then a count of three and after the third beat is where the melody begins, so you'll hear 1234123 after a few sharp A. Now, once we get to the actual backing track, we're going to drop away the first bar and you'll just hear the three beat count in in here 123 after a P sharp a. Now at first it could take a little bit of getting used to, and it's helpful to play along with the track because of the saxophone is always gonna play it in the right place each time and eventually, later on in the program. You're going to be playing along with a track that doesn't have the saxophone in there. So you'll be the ones stepping into that space, and it feels a little bit like being on a tightrope with no net sometimes. But these practice videos air designed so that you can really go for it and take chances and make mistakes, because if you're not making mistakes when you're practicing your not practicing something challenging enough. So don't worry about it. If you're having to back up the tape and try it again and try it again, it's how I learned. It's how everybody learns. Just stick with it and you're going to do great. We'll see in the practice video. 19. Clarinet Practice 6: We're not gonna win the melody That makes up the B section of our song notes are G shar and aim a Chiche are a g shar f sharp f sharp. Let's try that again. I am sure g sharp and hey a she shar a sheesha f sharp f sharp. Now, the second melody is difficult to enter because it starts on the third beat of the bar. So, for example, we're gonna count four whole beats and then three more and begin the melody like this one, too. 34123 Okay, try that one more time. So one bar. 1234123 After T shirt. Now we're gonna play it with the backing track, and we're only gonna have the three beat count in. So it'll go. 123 after of g sharp a one. - Now , let's try it one more time. - Uh , 20. Learn how to change your role during the B section from lead to accompaniment.: I welcome back. This is Week seven of clarinet lessons in the Music Coach program. This week you're going to start working on going back and forth between having different roles in the B section of the song now, because the goal of this whole program is for you to eventually be able to play with other real musicians in real time on this song or on other songs. One of the skills that really want you to start developing is the ability to think about the arrangement of the whole song and about what's coming next. Because your role might be changing as the song progresses, for example, you might be playing the melody in the first part of the song. But then, when you go around the second time, you may be playing in a company that part or taking a solo. And as a instrumentalist, it's always good to be thinking just slightly ahead about what's the next thing that's coming so that I'm ready to begin right in the right place. So in the practice video this week, you're going to be playing the melody for the B section, and then the track will stop and Then you're gonna play the chord structure for the B section and remember, cause our sections always get repeated. It's gonna be to bees and then to bees. And finally, you're gonna have a chance to play the B section melody without the saxophone in the track , you get the feeling of having to jump into the pickup bar on your own. And the thing I would say is like anything in life, do it with as much confidence as you can muster, because it actually sounds better, even if you make a mistake. If you're playing it confidently and try it many, many times, it takes a while to get used to sort of being on your own as the instrumentalists. Keep up the great work and we'll see in the practice video. 21. Clarinet Practice 7: we're gonna work on playing through the form, doing different things. We're going to start by playing the melody for the B section of the song followed by the bass part for the B section of song And then the melody again for the B section of the song 12 Ready? Go Now you're gonna play the bass notes for the B section of the song one, go Or now you're gonna try playing your melody on your own With the backing track Go 22. Learn how to change your role during the entire song from lead to accompaniment.: I Welcome back. This is Week eight of clarinet lessons in the Music Coach program. In this week's video, we're gonna be working on playing different things in different parts of our song like we did last week, but this time over the entire form. So a B B running in a circle. What's gonna be different this week is that when we're playing a, you're gonna be doing one thing in the first day and something else in the second day and then something in the first be something else in the second be and this is yet another example of having to think on your feet. Think a little bit ahead about what's happening, and it allows for when you're playing in a real band situation for things to change quickly , and it makes the music mawr interesting. Now, if you're in a small group setting like you and one other instrument or you and two other instruments, it may not make so much sense to have so much changing so quickly. But if you're lucky enough to be playing in a band where there's drums, bass, guitar, piano, flute, saxophone, trumpet all these things, it could be a nice wayto break up the sound and give everyone a chance to do something different. The last thing in the practice video this week is going to be taking a solo over the whole form of the song and just expand on what we've been doing before. So have the courage to move from note to note and try different rhythms and start thinking about moving in an upward direction and a downward direction and also dynamically meaning How loud your playing. So sometimes when I play solo, I like to start out really hard and loud and then pull it back when I'm in the middle or the opposite. Someone's is nice to start very quiet and really build up to something. Improvising is a form of storytelling with sound, so really as much as you can think about where you want your story to be going, and I always like to feel my way through so I can kind of feel where it is. The solo wants to go to next, and each improvisation is its own unique thing. All right, keep up the great work, and we'll see in the practice video 23. Clarinet Practice 8: you're now gonna practice playing the melody and the bass notes and taking a solo all the same time during the song. The first form you're gonna play is the a melody once than the a section cords than the B section melody Once and the B section melody courts 12 Ready? Go Now you're gonna play the A melody twice the B melody twice and then improvise over a B B 12 Ready, go! Go Way , Way over the section 24. Learn how to play your first scale pattern: I And welcome back. This is Week nine of clarinet lessons in the music Coach program. This week we're gonna work on learning a scale pattern. Now, skill patterns are a great way to work on a scale out of order which helps the information get into your hands in a different way. This really helps your improvising later on, when the vocabulary in the language of the scale is in your hands, not just in the regular order of a B c sharp d So on like that. The 1st 1 we're gonna do is called thirds. So we're going to start by being on the low A and instead of playing be we're gonna skip over it and go to see Sharp. So here's what the scale sounds like going up. Uh huh, Uh huh. And here those notes slowly. We have a C sharp being de c sharp. Ah de f sharp and she shar f sharp a she sharp g sharp A. Here's what the scale sounds like descending coming down from the high eight. Uh, now the notes are a f sharp G sharp. Mm f sharp de and C sharp Dean, be C sharp a being be a and the practice video. You're gonna start by playing the notes as half notes, so two clicks reach Note. This can take a while to get used to, so go slowly. And if you need to repeat them at the slower tempo first, then go ahead. Then you're gonna eventually be moving into playing the notes as quarter notes, both ass ending and descending. And like everything else in this program, make sure to go with the speed in terms of how faster moving through the material that works best for you and make sure it's really comfortable under your fingers before you're ready to move on. I always like to feel my way through. So if I feel like I my fingers air starting to know where the next note is in the pattern, I'm starting to get it to the level where I need to. All right, keep up the great work and we'll see in the practice video 25. Clarinet Practice 9: we're now gonna play the A major scale ass ending in thirds using half notes. 12 Ready? Go. Okay. Sure. Sure, Sure. She sure? Sure. A. You sure? She Sure? Hey, now we're going to try the same thing. Using quarter notes. 12 Ready. Go. Sure. Sure. Sure, Sure, Sure, Sure. It same thing again. 12 Ready? Go. Sure. Sure, Sure, Sure, Sure, Sure. We're now gonna play the A major scale descending in thirds using half notes. 12 Ready? Go a f Sure. Sure, Sure, Sure, Sure. Uh, now, let's try it. Using quarter notes. 12 Ready? Go Right again. One, two. Ready? Go A Sure? Sure. Now let's play the scales. Ass ending and descending. Using half notes. 12 Ready? Go! Okay, Sure. Sure, Sure, Sure, sure. A Sure? Sure. Hey, a Sure? Sure, sure, Sure, Sure. Be. Now, let's try it. Ask Sending in descending using quarter notes. 12 Ready? Go. Sure, Sure. Sure. A sure? Sure, Sure, sure. 26. Learn how to play your second scale pattern: I am. Welcome back. This is Week 10 of clarinet lessons in the music Coach program. This week, we're gonna be working on a different scale pattern in the A major scale. Here's what it sounds like. Way this one goes up four steps and then back and then up and then back. It's a bit of a switchback shape and descending. It's going to do the opposite, is gonna drop down and then back up, down, up. This is just another variation that's gonna add to your ability in your vocabulary with the A major scale. So here the notes a be C sharp, dean, and then we go down to be C sharp. Okay. He then back down to see Sharp de, um after sharp Dean. Mm. After sharp, she sharp and ap sharp she sharp a f sure g sharp a She sharp a Here the notes one more time. Very be C sharp, Dean being C sharp de and C sharp the f sharp dean. Mm f sharp. She sharp. Mm f sharp, g sharp. A f sharp, g sharp. A g sharp. Okay, here's with scale. Sounds like descending. And here are the notes a g sharp AP Sharp G sharp f sharp. Mm. The I m sure. Mm. De c sharp. Um, the C sharp be being c sharp being a c sharp, be a the A. So work on it. Slowly, with the practice video, you're gonna be playing half notes and then eventually working away up to being able to play quarter notes. This is again going to help you develop some great vocabulary in the a major scale. Keep up the great work and we'll see in the practice video. 27. Clarinet Practice 10: We're now gonna play second scale pattern. We're going to begin by playing the notes as half notes. One to ready. Go. Sure. Sure, Sure. F sharp. F sure. G share f sharp. G sharp. A sure G shirt. A T shirt A. Now we're gonna try the same pattern again. Using quarter notes. One to ready. Go A c Sure. Sure, Sure, Sure, Sure, sure. G sharp. A f shirt G sharp. A g sharp. A. Now we're gonna try the same scale pattern descending using half notes. Starting on the high. A one to ready go A g shar f Sure. G sharp, half sharp. C sharp being C sharp. Sure, being a scythe. Now we're gonna play the notes descending as quarter notes. 12 Ready? Go A. Sure? Sure, Sure, Sure, Sure, Sure, Sure, sure, Sure. Now we're gonna play the notes ass ending and descending as half notes. 12 Ready? Go! Uh, sure. See? Sure. Day, see? Sure. F Sure? Sure, Sure, Sure, sure. A f sure. G sharp. A g shirt? A a She sure? Sure. She sure? Sure, Sure, Sure. I mean sure, Sure, sure. Be a B Now. We're gonna play ass sending and descending as quarter notes. 12 Ready? Go A C Sure soothe your after G sharp. A F shirt, G shirt, a G shirt, A T shirt, shirt, shirt, shirt. Sure, sure, sure a scythe. 28. Learn how to play embellish the melody as part of your solo: Hi and welcome back. This is Week 11 of clarinet lessons in the Music Coach program. This week you're gonna work on embellishing the melody as part of your improvising. Like I've said in earlier videos, improvising began as soloists taking their own expression and putting it onto the melody of a famous song. And this was the first few baby steps towards improvising becoming its very own art form. And it's still a great technique. And that's why I want you to try it out with the melody from the song that we're doing So in the Practice video, you're going to be playing the melody regularly the first time. And then the second time, I want you to branch out and try and make it your own. I'm gonna give you an example of it. I'm gonna play the melody to the A section once regularly, and then I'm gonna embellish it the second time and make it a little bit different. So I've kept the basic shape and form of it and added a few extra notes or played certain things longer . And this is just one way of going about it. And each time you embellish it will become mawr of your own personal taste that will come out in doing it. Here's the same thing with the B section melody again. Each time you embellish the melody, it will be something different and unique. And this is a great technique for beginning of solo or also ending your solo toe. Let everyone else in the band know that you're coming to an end point as well as it's a great way. If the band can become a little lost sometimes inside of a solo, it will happen it and it's totally okay. It's a great way if you're the one who knows where the melody is supposed to go to be playing the melody and still soloing a bit to kind of bring the focus of the band back into where the form is to keep up the great work and we'll see in the practice video 29. Clarinet Practice 11: now improvise off the main melodies to start with. Play the A melody regularly once, and then the second time through improvise around the main melody. One two. Ready? Go Now you're going to do the same thing with the B section of our melody. Play the melody once normally, and then improvise around the melody the second time. - Now try improvising freely over both sections, choosing to either use some of the melody or make up your own part completely. 12 Ready go. 30. Learn how to put all the skills together, melody, solo, and accompaniment: I Welcome back. Congratulations. This is Week 12 of clarinet lessons in the music program. You've done a really great thing by getting all the way through the program, and you've developed a skill much beyond music that's going to serve you in anything that you do, which is the skill and the ability to follow through on something all the way. Your musical journey is well on its way, and I hope that you've been getting into the jam room and trying to play along with the virtual band. And even more importantly, I really hope that you find an opportunity to play with other musicians, be it friends or family members or people around you and really make music in the moment because that's what the point of making music. It's a way for us to communicate emotional information with each other. It's really meant to be done with other people, so I encourage you to be bold and get out there and find places to play. In this last week's practice video, we're gonna work on putting all of these different elements together and being able to play the melody to the A section and B section the cords to the A section in the B section, improvising off the melodies, making up your own melodies and using your scale patterns and thinking about dynamics and starting low and finishing high and starting high and finishing low on all the different variations of it. And at the very end, you're gonna get a chance to make up your own arrangement of what you want to have happen over the form of the song. So you may want to play the melody of the first time and then take a solo and then play the melody to the B section, whatever you want. And in that section, I encourage you to try different things like back up the video and try it again and make a different arrangement. Congratulations again on coming to the end of the program, and we'll see in the practice video 31. Clarinet Practice 12: we're gonna try together all of the pieces we have playing the melodies, playing the bass note patterns and improvising To begin with. I want you to play the melody in the first day section, followed by the bass notes in the second, a section in the B section. We're going to use the same pattern. We're gonna play the melody on the first B and the cord notes On the second be 12 Ready go regular melodies based on a section ability section. Now you're gonna work on building your solo by thinking about starting low and ending high and starting with a quiet sound and ending with a loud sound. Try this out with a practice video and see if you can build your solo across the whole form . 12 ready? Go finally. See if you can make up your own arrangement of how to play along with the track. 12 Ready go 32. Jam Room 60bpm: 33. Jam Room 80bpm: 34. Jam Room 100bpm: 35. Welcome to the Music Coach Duo Series: either. It's taught the music coach, and I'm so excited to invite in my good friend and colleague Kenny Kirkwood to come into the music coach studio to help with the special duo Siri's. Now. You may not know this. Makeni was one of my first music teachers, and he's been a mentor and I've taught at his music school. He played gigs and recordings together, and I'm so excited to have thanks a lot for having me. And that's Boston to be here. And, you know, I'm really proud of everything you've done. I think music coaches a great program, so so many of the lessons that I've worked on a year over the years. You've already got done here. So, you know, thanks for having me for the duo sessions, especially because for me, I remember starting out practicing solo for a long time. But there's nothing like getting to the duo century, actually making other people. So enjoy the program. Call up a friend, and no matter what levels your you'll be able to work it out 36. Clarinet Piano 1: - Theo . So when you're starting out with improvising with the clarinet and the piano together, it's a really beautiful combination. It's nice and soft. There's tons of space in this example. We're playing just in the key of G major, so using the scale now when I say G major, I'm talking about G major on the piano. The clarinet and the piano are not in the same key. So one of the important things you have to know is that for G major on the piano, I'm gonna be playing a major on the clarinet. So we have different sharps and flats and different notes. In a very simple sense, this gets us started with very basic idea off during the scale by numbers. So if I'm playing my A, which is the first note of my scale and Kenny's playing G, which is the first note of his scale, then we're talking about the same notes. I can say, Let's play the one which would be G E and sound like the same. And in this sort of beginner set up and going, we're not really thinking about how fast it's going at. It is just making sounds and reacting and listening. So even if you haven't been playing for very long, you can still just get started and have the confidence to get started playing. What are some of things you like to think about when you're playing with Internet? Well, in the clarinet, I noticed the sound of it has a really beautiful soft tone and and you can really hear I feel like I'm in the forest often when, uh whether here clarinet because traditionally they all made of wood and the readers made of wood. So So I thought of a very gentle sound to start. And just in the moments before I was playing, I decided to just lean into a rhythm, which was eso. But we didn't necessarily count that one in. So sometimes you might find your jamming with someone, and rhythm starts and you go with it. But, you know, we could dio if you feel like that's too challenging spur for many of us when we start to have rhythms going is saying, Well, that's like the trains going on the tracks already, and we get panicked and you want to jump off the trainer or feel like you can't you bring? Can't think fast enough to come up with notes or what? If you make a mistake, you get you get pressured so we could actually do another version off on improv. A lot of the times it will just play without rhythm. And we started as you mentioned, you know, in our beginner Siri's, you know, working with long tones is something that's really, really, really important. So when I playing with a clarinet player or any wind player, you have to breathe. And so I try to breathe as well when I'm playing my instrument. So when we begin use these things, do just let your hands fall and listen to the sound and you don't have to have a rhythm right away. There's no rule saying that. Then I'm going to switch to my next course. I get my fingers time to find it. Take another breath on and you'll see if we do this that it gives taught all the freedom he needs to just explore his scale in his nose. So that's a couple of things. I think we're gonna try a quick example of that now where I'm gonna play a little idea, and then Kenny is going to react, and then he's gonna play something, and we're just gonna It's like having a conversation like we're having right now. So we're gonna start. I'm just gonna go first. All gonna be key of a major on the clarinet and keep G major on the piano. And really simple. You want rid them to started. You want to do just totally free, Just totally free. Call this soundscape. Sometimes I'm painting a landscape which is painting a sounds long toes way. 37. Clarinet Piano 2: in this example, we're gonna be doing a few intermediate techniques between the clarinet and piano. So we're gonna create ah, harmonic structure, which the simplest one we can make is using only two courts. So anyone you talk about, what courts were in play in for home? All right, so what I'm thinking about is G major chord and it's simple structure, closed forms, Dio and I'm gonna play that for two bars and then we're going to switch to the C chord. Use inversion there for C chord. You don't know that when you could just t g but it is. That's going to be two bars as well. So we'll have to bars of G and two bars of C. And this gives the music a feeling of moving somewhere, you know, and I like to think of it, you know, a Ziff were on a train and we're at G station is going on between those entity and will end on the G chord now for the clarinet players. You're gonna be playing a enough your income Penis role. I will play the low low a and we're going to playing D. So that's gonna be when we go to the other courts gonna be D as a soloist so you can just move around that a major scale and they all the notes will work on both courts. But if you want to be accompanying, those are our notes What you Countess in? All right. So first I see if my players were ready, I feel to be a field of policy, and then I can have my numbers do it. One. Do you want to do? Ah thing? 38. Clarinet Piano 3: it's example, we're gonna use some more advanced techniques and play a core structure that has four chords in it and a little bit faster rhythm. So can you want you tell us what the core progression is gonna be? We're gonna be doing the 1415 chord or in the key of G, that would be G major to see majors the majors deem age. You might also have heard of this as the the tonic sub dominant tonic and dominant. You're classically trained. And for the clarinet players were gonna be playing a de a E. That's gonna be our route motion. The other thing we're gonna add into this is trading. So we're going to start off where I'm gonna be improvising using the A major scale and then when I'm sort of done doing my solo, I'm gonna give Kenny a Q, and he's going to start taking a little soul of himself, and I'm gonna switch to playing the court tones and then he's gonna throw it back to me, and we're gonna end it. That's gonna be reformed or you counts in a bit of a fun crew. So here we go 121230 Theo. Short ending the short ending Little not of the chin says. You can see we're hewing each other with just very basic, simple things. It doesn't have to be big, massive gestures if you're looking and also feeling you can. As you get more experience in music, you'll feel where there are moments where things will tend to change its a lot. Lately, we use the train analogy all the time. There are places where you know the tracks can split off and going to different places, and in those moments that you want to be really paying attention and kind of keeping your eyes up and looking at what's happening and also knowing what's coming next. So we had talked about I was gonna play solo and then I was gonna pass it over. It's like passing a ball. So Kenny knows when I'm soloing, keep an eye out because it's coming over his way, and then I'm when I'm playing a company man. I know what's coming back my way, and I know we're ending or some of things that you were thinking about. The piano player. Well, I was thinking a lot about about how scared I waas about making mistakes, and it was kind of my inner inner 10 year old, I think, because when I started taking piano lessons, I you know, there was a lot of voice in my head saying, Oh, you got to play all the notes right? And it's music's got to sound perfect. You don't break it, you know. But I've spent years to learn how to just relax and stay in the moment and breathe. You know, if I'm getting nervous or scared about something, anything in life. Actually, it's just coming back to that breath that helps you realize, hates. It's not the end of the world if I make a mistake. So I'm not the world's best piano player. But I love to explore, and I love to learn, and I don't mind making mistakes. So that's why I was, you know, willing Teoh to try this experiment. Todd and I hadn't practiced any of this stuff before today. We're just bringing it up on the fly, and that's that's something that's one of the great things about the universal language of music is you can make up the structures It's kind of like meeting people and say, Hey, we got some building blocks here instead of just making our own thing. What? Why don't we decide on a plan together? You know, you want to build something, how big is gonna be and what is the pattern of colors you want to use and and learning to talk with other people about the music you're gonna make? It is one of the best, you know, skills. I think that music brings out in us is they listen to other people, you know, and music is really something that happens in the moment. Music isn't happening right now. It was happening like a couple of minutes ago when we're taking chances and listening and responding to each other. And one of my favorite quotes is from Miles Davis, the famous jazz from a player talks boat. There aren't any mistakes. A mistake is just an opportunity. And if you think about your life already so far, I'm sure taking the wrong turn off the road and ended up somewhere interesting and met some new people. And life is just like that, and music is is a big part of life. And so when you think you've made a mistake, you're just you just presented with another opportunity for sure. You know, it's a lot like just telling a story. I remember a teacher told me me that not to think about the notes or worry about the notes too much because I was getting a little too studied in, well, what no goes with which cord and at the advanced level. There's a lot of teachers out there that show us how to do that, and it's a useful tool, for sure. But sometimes you need to just think of your beginning middle end. You're going to start the solely when it started with a confident, whatever you do, make it confident or make it clear and then do something. Whatever happens in the middle. While you might take sidetracks, you might get lost from from the group or whatever. But as long as you come in at the ending and it's clear that the ending, that's ah, that's what people remember, just like if you're giving a speech in class or doing any kind of public speaking they say , or writing an essay, they say it's the first and the last thing that people really make an impression on them. So So just focus on that. Uh so make a confident ending. Exactly. And use timing as your best friend. 39. Sax Clarinet: way, - Theo Way, way thing, Theo way. Ah, that was a while. This is we played an improv like that. What were you thinking about doing that? Well, we've been kind of doing all these dual videos here today and moving through these different levels of beginner and intermediate in advance. And I was thinking about kind of starting in a very gentle, open place and then allowing the structure to kind of present itself. It's sort of I find it's like a great story. A great story reveals itself like the right moment. The characters walk into the frame or onto the stage for sir and, uh, W Well, yeah, I think about that story analogy a lot. It's like sometimes I'll say to a student, Ah, young student, You know, they might be able to reach Allah story that they know well, Goldilocks and the three Bears or something. But I'll say to them, sometimes make tell me the story about a giraffe and a mouse and an elephant, and I'll just make there is no real story. I'm referring Teoh and older people tend to say Well, which story is that? But a young child often will just start making it up. So in my experience of playing sax, woman learning how to improvise, letting things unfold, it's a little bit like just having the faith that that something's gonna happen. Whatever happens, it happened, you know, and sort of taking away my fear of whether it's good or bad or not taking away that voice of judgment, you know, and remembering in the process of learning to do this, I can remember what it feels like to be a pretty young child and just have an imagination that can just turn on and improvise. So that's what that's what I was thinking about it in that piece. There was so many things I would say we were playing in, probably in an advanced level for the most of that. And I think that a lot of the skill, the technique that we had in our fingers comes just from hours of practicing. But but still, the breath was the thing that really impressed me the most. You know how how are breasts? If you could actually have a have a draw, a picture of how our breathing patterns, not instead of the notes and the rhythm would just show a phrase market you took. But I think we both took a big, long breath of first and then meeting another long breath. We often have done that because it's a great way toe build a feeling trust with with your partner and then on then sometimes he would start the breath. And then I remember doing a few shorter breaths pattern to build up, some to build up Teoh Ah, Peake So he would go on and play along note and I would come in with the, uh uh the, uh uh and that's a trick. I use a lot when I want to build to a climax on. And I feel like I have something to say in this story and I want to take it to, ah, more dramatic level. So building up with a few short breaths like that, get your lungs really full so that you can then whale on a high note or get louder or get lower whatever you want to do. So breathing is always to even up to the advanced levels. You always want to have a sense of varying your breath so that the story will be very to