pu enw I's Jai MN lei Saehice rtd Pana rates CLARINET TONE, STYL TECHNIQUE Scns i eR se ee 2012) BENNY COO! RUSBENNY GOCDMAN's RO L f Ro; ME T M E-T H ODA-CAP ——————_> B-LIGATURE ——>_ > D c REED & MOUTHPIECE > fa E-BARREL JOINT —> fy F-UPPER JOINT —> G-LOWER JOINT —> ASSEMBLING THE CLARINET Moisten the thin part of the reed thoroughly, then place it on the flat surface of the mouthpiece (C), con- forming the tip of the reed (D) to the tip of the mouthpiece. The reed is held to the mouthpiece by the ligature (B). Be sure the screws on the ligature are tightened firmly. After assembling the barrel joint (E), upper joint (F), lower joint (G) and bell (H), then insert the mouthpiece into the barrel joint. TUNING THE CLARINET Strike the note “A” on the piano or tuning fork. This note conforms with the note “B” in the clarion (middle) register of the clarinet. If the clarinet is found to be lower in pitch than the piano note, push the mouthpiece in further on the cork of the barrel joint. If the clarinet is higher in pitch than the piano, pull the mouthpiece out so that it does not go so far down on the cork of the barrel joint. For an appreciation of tuning tech- nique it may be noted here that Pitch is determined by the length of the tubing in the instrument. Thus, pulling out the mouthpiece length- ens the tubing, lowering the pitch, and, conversely, pushing” in the mouthpiece shortens the tubing, raising the pitchSTANDING POSITION 3 FINGER POSITIONThe Clarinet, invented about the year 1690 by J. C. Denner, and later improved to its present degree of efficiency by Auguste Buffet, Jr., is, without contradiction, the greatest instrument of the wood wind section in richness of tone and extent of compas. It is not only the soul of military music but one of the principal supports of the orchestra. During the clasical period and well into the nineteenth century, orchestral clarinets were made in three keys: (1) The Clarinet in C, a non-transposing instrument written and soun ig in the key of the composition (2) The Clariner in Bp, 2 transposing instrament, sounding a major second (2 semitones) lower than written, therefore written in the key of two flats less or two sharps more than the key of the composition. (3) The Clarinet in A, a transposing instrument, sounding a minor third lower, and urrefore written in the key of three flats more or three sharps less than the key of the composition. Of these three Clarinets, the first, the non-transposing C Clarinet is obsolete. This leaves us the to choice of two instruments with the same compass of almost four octaves wit which on the Bb Clarinet sounds and on the A Clarinet sounds Im the upper notes of the high register it loses considerably and the tones are screeching, sometimes very disagreesble to the ear and mostly defective, Those who apply themselves too much to the practice of those tones rarely develop 2 good tone in the low register (Chalumeau). So, practically speaking it is inadvisable to go beyond the high G which is the reasonable limitation of the instrument,‘The Clarinet is divided into three registers: The first, and deepest, register extends from low Ey = Bh = and the second, and middle, register starts at By = and goes to Ch and the third, or high, register starts at Ct ‘The student, in making 2 choice between the Bh and A Clarinets may be guided by the face that there is such a slight difference of quality in the two that not even an expert clarinettst can tell (from its tone quality) whether a passage is being played on the A or Bh instrument. ‘The ae.* tual difference between the two is largely a matter of text book theory rather than practical fact. However, the Bb instrument is used almost exclusively in dance orchestras. and predominantly in symphonic orchestras, The music for the Clarinet, like that of the Violin, Flute, erc., is written in the G clef, and the key in which you are to play is indicated by the key signature placed at the beginning of the compo- sition or strain, The student who expects to enter the field of capable performers must regulate his periods of Practice so that the most may be gotten out of them. Very often the student is improperly advised ‘about the routine to be followed during these practice or study periods, ‘Therefore, the following is recommended as a guide for practicing: The study period should never exceed one hour. Rest at least fifteen minutes between periods and concentrate on something entirely different from music before resuming practice, Good re- sults ate impossible without practicing at least one hour daily, Divide the hour as follows: (1) Ten minutes for scale practice, (2) Ten minutes for sustained tones, including crescendi and diminuendi, G) Twenty minutes for technical exercises (4) Twenty minutes for phrasing lessons. In practice, the student should always mark the bars or phrases that seem difficult and repeat them until they are easy to play. Never think of any passage ac being “hard” (within scan), but say to yourself that it is unfamiliar and needs more practice,THE EMBOUCHURE ‘The manner in which the mouth is formed around the mouthpiece of the instrument is called Embonchure. Insert about half of the mouthpiece into the mouth, the seed facing downward. The ower lip is drawn slightly over the teeth, and the upper lip ic pressed downward to prevent the contact between upper tecth and mouthpiece, Compress the corners of the mouth tightly so that no air can escape while playing, but be very careful that the mouth is not compressed over the mouthpiece, because the reed must have proper play to vibrate in order to acquire roundness and + clearness of tone. TONGUE ACTION ‘The tongue is used to start almost all tones and to produce staccato effects. This is done by touching the point of the mouthpiece with the tongue and immediately retracting it. The use of the tongue to start a tone is called Attack and may be done lightly or sharply as the effect is required. The tongue should be perfectly redaaed in die mouth when playing sustained tnnes, thereby eliminating any possible strain. BREATH CONTROL Inhaling should be done by pushing out the diaphragm thereby filing the lower part of the Jungs, Exhaling should be done by pressing inward with the muscles across the diaphragm. This method, rather than expanding the chest, promotes better breath control and also minimizes fatigue. To inhale while playing, take in the air at the corners of the mouth, being careful to retain the embouchure. VIBRATO “The vibrato on the clarinet is obtained by the vibration or pulsation of the lower jaw with ar up and down motion, This produces clearness and roundness of tone and is a great aid in expression THE VIBRATO SHOULD BE PRACTICED ON SUSTAINED TONES ONLY. THE STUDEN! SHOULD NOT ATTEMPT VIBRATO UNTIL THE EMBOUCHURE HAS BECOME DEFI NITELY FORMED. Failure to observe this will present difficulties that will be hard to eliminate lateFIRST TONES TO BE PRACTICED ‘The following is an exercise designed to develop roundness of tone. The notes must be attacked with a sharp stroke of the tongue and the sounds completely sustained, connecting successive notes without a jerk or a perceptible gap. ‘The notes must have the same degree of power and intensity regardless of the intervals between them. Ex.1) The student should practice exercises 1 and 2 until the Embouchure has taken a definite form.PREPARATORY STUDIES FOR THE CHROMATIC SCALE Play slowly and try to give each note 2 round, full ons. [Ex.3) ss fe THE CHROMATIC SCALE Embouchure is well formed. Play the following only after theSCALES Most students overlook the importance of scales when, in reality, every good musician prac- tices. them daily. All scales and exercises must be played very slowly until che scale or exercise is thoroughly familiar. Take breath at the sign, (?). C Major Ex.5) G Major r D Major A Major A E Major_—$—$<— >) FF Major =~ we C# Major F Major = ee Bb Majo Eb Major > ee a a eee10 Ab Major se Db Major Gb Major Ch MajorAb Minor STUDIES IN INTERVALS After the student has become thoroughly familiar with all the major and minor scales, he is pre- pared to proceed with the exercises on intervals. This is the principal aid in becoming thoroughly famili: wt with the instrument and should be practiced until the sounds of all intervals are thoroughly established in the student's ear, as this facilitates recognition of each interval by its sound. Major and Minor Seconds [Ex. 6] eh12 STUDIES IN THIRDS Thirds must be considered next. Their frequent appearance in all type: of music indicates that they are the intervals most commonly used. C Major ae Ex.7 AMinor (Ties exercise may be practiced one cotare lower) F Major (This exercise may be pructiced one octare lower) a eee G Minor (Tis exercise may be practiced one octave lower) ’ = Eb Major er eeeDb Major > Gb Major Eb Minox _—————__ , Gt Minor (This exercise may be. practiced one octave lower) iite oe SS, A Major (This exercise may be practiced ove ovtace lower) > F¥ Minor (This exercise may be practiced ove octave torer) ~ 5? FE he ee , G Major (his exervive muy be practiced one octace lower) >E Minor The following short exercises should be practiced daily. ‘These exercises must be played very slowly at first, and the speed may be gradually increased until all feeling of difficulty has disappeared. Ex. 8) Play 20 times Play 20 times ee ra ery Play 20 times Play 20 tines16 STUDIES IN FOURTHS Fourths are generally considered a very awkward interval and therefore should be practiced ea ee constantly. C Major = A Minor (This exercise may be practiced one octave lower) y F Major (This exercise may be practiced one octare higher) zs a pS be 3 =~ G Minor (This exercise may be practiced one octarg higher Oe ——_ ——..STUDIES IN FIFTHS The following studies (fifths, sixths, sevenths, and octaves) are shown not only for technical practice but also to acquaint the student with their various sounds. C Major eee ye ca) Ex. 10) (2 ep ee a 7 7 GM norte oF pon on a eSPlay each of the following exercises until each is free from any difficulties in playing. STUDIES IN SIXTHS F Major ee rs Bb Majos_ —————__—_— 5,3» #2 = Z = age nh = f res ow GMa or ee oe19 Ply and repeat cach of the following exercises as many times as is necessary to eliminate all difficulties in playing, (Bx. 13 oom: fs. = E FE se —S aaa — SEVENTHS (Major and Minor) C (major seventh) Ex. 14, € (minor seventh) F (major seventh) F (minor seventh) = r Play and repeat the following exercises until perfect case in playing is accomplished. a =STUDIES IN OCTAVES JEx. 45, F Major (Thés exercise may be practiced one octave higher) Bb Major e Eb Major (Tes exercise may be practiced one octare higher’ Db Major21 Gh Major (This exercése may be practiced one octave higher) A Major (Thes exercise maybe practived one ovtave higher) G Major (This excreise may be practiced one octave higher)22 D Minor G Minor (This exercise may be practiced one acture higher) Oe F Minor (This exercise may be practiced one ovtave higher)EXPRESSION Expression in music, sometimes called shading, is of the greatest importance because therein lies the difference between good music and just “sounds” or noise, Expression is to music what the various colors are to painting. To become adept at expression, or shading, the student must concentrate on the practice of prolonged sounds or “lorig tones;” such as are found in Ex. 1. This is invaluable aid in che formation of tonal quality. ‘There is one general cule to be observed unless otherwise indicated. This rule consists of swell- ing or filling out the sound when the passage ascends, and in diminishing it when the passage de- scends. ‘There are five principal expression markings used to indicate the different shades of sounds (1) ff denotes that the sound must be loud (torte) and remain so until the next expres- sion mark. To obtain this sound the student must attack the note with a very sharp stroke of the tongue and sustain the degree of sound for the entire duration of the phrase or passage. (2) p indicates that the sound must be soft (pizno). To obtain this the student muse attack the nore with a very gentle stroke of the tongue and sustain the degree of sound for the en- tire duration of the phrase or passage. (3) > indicates that the sound must begin loud (forte) and gradually diminish in che degree of sound until it becomes soft- (piano). Should the sign appear at medium loud (mezzo forte) then diminish to very soft (pianissimo) . (4) <= denotes that the sound is started softly and increased to the degree of loudness indi cated. This is, of course, the reverse of the above. (5) <== is a combination of the two markings explained above. “The sound begins softly, increases in volume to the center, which is the loudest point, then diminishes in the same pro- portion, arriving at the original degree of sound. 2324 ‘The appearance of a line over 2 note F indicates that the note is to be held for its full value The word tenuto (abbr.-ten.) is sometimes used. The appearance of a dot over a noe f indicates that the note is to be played for only a part of its value with the remaining value in rest. Thus the passage ff ff wouldsourd Px Pr prpy ‘The sign ~ known as an accent mark, indicates that the note above which it appears is to receive stronger dynamic value. To indicate the different degrees of intensity of sound, we use the signs below: pp (pianissimo) very soft or piano P (piano) soft, subdued in quality wp (mezzo piano) _—moderately soft nf (mezzo forte) half loud, moderately forte fF (forte) loud Sf (fortissimo) very loud Sometimes the sign ppp is used to indicate the very softest sound that can be used; fff is used to indicate the greatest degree of intensity possible. A loud sound immediately followed by a soft one is marked fp (forte piano), and the sfor- zando indicates that one note is to be attacked in a very loud or strong manner. The pause A called fermata, when appearing over a note, indicates that the note is held for an indefinite length; and when appearing over a double bar /\- indicates a pause of indefinite length before proceeding.25 STUDIES IN EXPRESSION ‘The student should exercise great care in attacking the notes in the following exercises. Let the tongue action be as light as possible when attacking the notes marked pp, and more pronounced for the louder nuances, Do not make any crescendes or diminuendos on one note but sustain each with the same degree of sound. When playing ff strive for good tone quality. It is the misinformed musician who thinks that ff indicates 2 loud, coarse tone. This ecercixe may also be practiced one octare higher IEx. 16) PP OP ~ f PP ~ fF of eae Fe POP if f Ff bp mp of fF pp op nf of mp Ny P F ff PPP a ff ‘The above exercise is important practice and all notes on the clarinet should be practiced in a similiar manner, In the following exercise strive for an even tonal quality regardless of the degree of sound. (Ex.17] s = = of: Se = 3 en ee Oooo wallEXERCISES ON MECHANISM The purpose of the following exercise s to accustom the fingers, by habitual repetition, to function either separately or as a group. Finger coordination and purity of tone ate the features of an excellent instrumentalist and are obtainable by these exercises, Each group should be played ten or twelve times. To finish the phrase play the note after the — dotted double bar. Alll the notes should be slurred, ascending passages played crescendo, descending passages dimin- uendo, Ex. 18}2 eo “sa ae it ft, i [ i ty H | a A tela | P| HAA Mal if fi ‘ UH i ul it Rak a (| i aa ; Hie \ StH i i ti 5 ste 428 STACCATO STUDIES ‘Attack each note with a sharp stroke of the tongue. Be careful not to produce a coarse tone, |Ex. 24] eee oS >>> a> SPSS Sene> Seeee[Ex. 23] Subdivide the notes in exercises 22 and 25 into sixteenth notes and play them softly. fx. 24] Ex. 25]30 The following exercise is designed to coordinate the raising or dropping of two or more fingers on the keys or tone holes. First play the exercise without blowing, and watch the fingers; be sure the finger joints are slightly curved, not pointed. fa) =>, each of the folowing inthe above manner, ) @ ) © @ ) Reverse the above exercises by starting with the second note. The above exercise may also be practiced one octave higher. Play each group several times. Do not force the notes. Too much pressure between the lips and teeth is not good; press corners of lips inwardly. Se ee Ex.2' pe oe3133 CHROMATIC STUDIES Chromatic scales have their own importance, and should be Practiced daily. The student should remember to play the exercises slowly at frst, and increase the speed as the difficulty diminishes = Ex.28}he fele ngolp aah,tginetninieiey a—ian sie «Fle cte ef? eee SS Hele eteheteh® eisisicicime ae et (Play and repeat cack of the following ten times daily) or, o; * ¥36 RHYTHMIC STACCATO STUDIES Play and repeat each of the following ten times daily. The following exercise is designed to aid the rhythmic sense of the student. Careful obser- vance of the rest is required. Each note should be attacked with a light stroke of the tongue with- out losing the full tonal quality. A Ex, 29) Practice the following with variations in rhythm such ax én \Bx. 29RHYTHMIC STUDIES OF THE SIXTEENTH NOTE ae Exercises 32, 33, and 34 are often played with the sixteenth notes sounding like thirty-seconds because the dotted cighth is not held long enough, The following exercise will help the student get the exact feeling of the sixteenth note, Ex. 31] ¥STUDIES ON THE DOTTED EIGHTH AND SIXTEENTH NOTES The important thing in this exercise is to give full value to the dotted eighth note. The fol- lowing exercise is a duet. The student would do well to practice this and the duets to come with a fellow student as a first step to ensemble playing. Ex. 32| Ex. 33}VARIED RHYTHMS AND SYNCOPATION 39 Rhythm is the regular recurrence of relatively strong and weak beats. In the following meas- aid 36 ure in $ time beats one and three are strong, beats two and four are weak These are known as beat units. Syncopation is the appearance of notes on beats other than beat units tied to beat units. ees gener thes FSS S555 or more clearl S45 =| Ie is important that che student use the metronome when available, or, in the absence of the met- ronome, the student may improve his rhythmic sense by listening closely to different sounds that have a regular recurrence, such as the ticking of a clock, or a motor while running, etc. At first it may seem to take great concentration to beat time correctly and in a steady rhythm, but with practice, it soon becomes subconscious. In the following exercise the second and fourth beats of the measure are accented. > > > >—~ Sea Spe = = & < [Ex.36)40 Exercise 37 shows the accent occurring on the second beat of the measure only, because the ties prevent an accent on the first beat. = > > > > = Ex, 37| ‘The same exercise in 3/4 time. > = [Ex.37A| Ex.38} Taking a breath in the middle of a passage must be done quickly and through the corners of the mouth. In cases like (*) play the note D as an eighth note followed by an eighth rest, ‘The im- portant thing is to come in on time on the next note following the breath.aL The following are exercises on syncopation. Ex.39) = = wes = For convenience in writing composers usually write the above exercises in the following man- ner. [Ex.4 0] = > = = = > > ‘These exercises must be played by attacking the syncopation with a sharp stroke of the rangue, detaching each note. ‘The same exercise in 3/4 time. Ex.4 4] The same exercise in 4/4 or C time. Ex, 42)42 The student should observe the expression marks and always take care to preserve the full tonal quality. Pa eee > > > Ex.43] Vv Ses gait = Bh eB Ht i ( == ——— + wee 7 Exercises 43 and 44 can also he practiced thus: Ss + $s4a RHYTHMIC STUDIES IN VARIOUS KEY AND TIME SIGNATURES ae ee a eeEx, 47] Ex.48|45Ex.52|RHYTHMIC TECHNICAL EXERCISES The following exercises should be played both slurred and detached. Mark the measures that seem to present difficulties and return to them until ease in playing is acquired. Ex.55Ex. 64] Study of the Sixteenth Note in 3 Time 49 Ex. 62! Rhythmical Study50 Study in Sixteenth Notes IEx. 63} Study in Waltz Time51 Study in Rhythmical_ Accents eps ee ee > = Rhythmical Study IEx. 6652 Technical Study in Waltz Time Ex. 67] Study Combining Slur and Staccato Ex. 69| SS fee33 Rhythmic Study Ex. 70] [Ex. 74] Technical Study za * Studies in Triplets55 MODERN STUDIES IN RHYTHM The following group of exercises is designed to equip the student with a foundation that leads to advartced performance and it will be a direct aid to in modern music, Ex. 73| practical playing such as may be found ee at : ele aes Jota” GRAND SLAM Recorded as "BOY MEETS GIRL" on Parlophone R27S7 and on CBS Records, 35482 By: Benny Goodman Copyright ©1944 by Regent Susi Corporation Copyright Renewed by Raghag Mu: Publishing Corporation SGPRighte Conoled nd Adasen hy Jewel Mase Pblehing Ca, Ine International Copyright Secured Ai Rights Reervel Used by Fermiston‘Vibraharp 6Ae2 His first big thrill. He is made first clarinetist in the Harrison High School orchestra, Chicago. 6B 4 eles 1 At the aga of 10: Renny’: father takes him for his first clarinet lesson. 3. He makes a serious study of the instrument under such uiustens us Franz Schoepp and Boguslowski.“ Gone With What Draft Recorded by BENNY GOODMAN'S SEXTET on Parlophone R.2798 and on CBS Records, CJ 45144 By: Benny Goodman ‘Trpt.wah Tor fore feat rere rer riper ror Per gr | ; as a = tPF eh i LS wor tere Por Piet eer Por ter le, crt? tert: ae t artery or rr Peep ert, ter e r tet Mer Tt opr © 194 by Repeat Mae Ca ppt Renewed iy bg ie blah Corer ait Renewed by Rasbag Music Publishing Corporation Pert65 a Clarinet Guts = Clarinet > ensemble ensemble b. tar a Clar.andGuitar = iar Clarinet and Guitar ith What Draft-266 SLIPPED DISC Recorded on Parlophone R.3007 and on CBS Records, CK 44292 aan Plano eat sed basso Clar. e ey iP i =H Hey TN Ley a {13)) 1) thy he Copyrghe © 1845 by Regent Musie Corporation Congrats Renee y Rega Mune Pisin Corporation Allights Controlled and Admintsterea by Jewel Muse Publishing Ca, toe Thernalenal Copyright Secured AU Rights Reserved Used by Permissionlipiler88 Vibraharp > ‘Vibraharp Piano Bass 402 dnseo69 4 His first professional job on a Lake Michigan steamboat. The trumpeter of the four-piece band was the immortal Bix Beiderbecke. 5 The big-time beckons. He joins Ben Pollack at the Venice Ball- room, Los Angeles. 6 His first theatre job. In the pit band at the Paramannt ‘Theatre, New York.70 SHIVERS Recorded on Parlophone R.2923 and on CBS Records, CJ 45144 By: Lionel Hampton and Charles Christian Goitar, i _Oter, Vibraharp Copyright © 1940, 1944 by Regent Musi Corporation Coppraat Renewed Tternational Copyright Secered All RightsReserved (Ged by Permissionas es72 BREAKFAST FEUD Recorded on CBS Records CJ 45144 By: Benny Goodman ‘Copsetght © 1964, 2464 uy meen amie Corporation Copyright Renewed by Ragbay Music Pubishing Corporatio Al Rights Controlled und Administered by Jewel Mase Publishing Co, ne. International Copyright Secured "All Rights Reserved Used Permisston13 Cla. Tpt. A Tenor Guitar% Clag.& Tot. Tener i lar. =7s 7 In 1929 radio hears about the Good- man clarinet, He played with prac- tically every studio band broad- casting at that time. 8 Benny begins to think about lecd- ing his own band. To prepare him- self he studies arranging and com- Position under Joseph Schillinger and other noted teachers. 9 His first orchestra playing in the pit for a musical comedy, “Free For All.” 10 The first radio show for the Goodman Band. A three hour dance program via NBC Network. Benny provided the "hot” music for the program.16 CLARINADE Recorded by BENNY GOODMAN on Columbia R.3010 and CJ 44158 By: Mel Powell SS eae Copyright © 1943 by Rogent Musk: Corporation CCopyriaht Renewed by Jewel Mase International Copyright Secured Used by PermissienClar, 8 $mgy ¢ Baritone 82 basso E 2 — ek eas + £ oe11 After the radio program went off nny goes on tour and creates a sensation at the Palomar Ballroom, Los Angeles. Here his music is de. scribed for the time as “swing” music. 12 On his way east he stops off at Chicago and introduces the Goodman Trio, with Teddy Wilson (piano) and Gene Krupa (drums). Later Lionel Hampton (vibraharp) was added to make the Goodman Quartet. 18 Always a lover of classical music, Henny joins the Budapest String Quartet for a series of concert ap. Pearances and recordings.80 TM HERE Recorded on CBS Records BE 22025 Bright tempo Totti ay Copyright © 1941 by Regent Music Corporation Copyright Renews by Jewel Mani Publishing Co, tee. erations Copyright Seed Alles Resend By: Mel Powellftoeetlltee o apettote and Tpt Solo x8283 14 Hollywood calling! The Goodman Bond appears in "Hollywood Ho- tel” and "The Big Broadcast”, with Jack Benny and Martha Raye. Weiss NY GOODMAN oe Ce DNDN 15 Returning to New York Benny breaks all previous records at the Paramount Theatre. 16 Voted “Best” by polls taken by musical publications and crowned "King of Swing”.* SCARECROW Recorded on Parlophone R.2835 and on CBS Records, CJ 40834 iy? ity! open Clas, Groové tempo Brass Consign 1961 Regen ic Corpora oprright Renee Music Eubshing Corporation Sahih Contig nnd Lents by Jewel Mose Palehng Co, Toe fntertional Copyright Secured AT Righs Rexrved Used by Permission86 z Brass ——! Brass87 17 College students are among the first to appreciate the finer points of modem dance music and the Goodman Band is the favorite of the big colleges and schools. 18 Benny invades Carnegie Hall, the templo of the classical in music, and plays a swing concert. 19 With the Hungarian composer- pianist Bela Bartok and violinist Joseph Szigeti he appears in sev- eral concert recitals.88 OOMPH FAH FAH Recorded by BENNY GOODMAN on Parlophone R.3010 and on CBS Records, CK 44292 By: Ellis L. Larkins Medium Bounce Char @ Bass > 4 Char. Copycight © 1948 SonyiATV Tunes LLC CCapyrght Renewed All Risht for the United Stats Aduiaistred by Soy/A1'Y Music Publshng,& Masle Square West Nail, TN 37203 All Rights usie the United Sats Conley Regen luc Corporation Tatersationl Copyrigh Secured ll Rights Reerved89 Clar. S0L0 [C) nase sote SakiD] Piano as) Clar.@ Bassa 20 In June 1940 Benny dishonded this o:chostra and took @ much needed rest. In November of the same year, he organized an entirely new band which critics and dance fans proclaim is the best that has played under the Goodman bemner. 21 The small combination (the band within a band) is a sextet comprising Cootie Williams (trumpet) Charlie Christians (electric guitarist) Georgie Auld (tenor saxophonist) Arthur Bemstein (string bass) Dave Tough (drum) and Johnnie Guarnieri (piano). 22 The crowning event uf Beuny Goodman's professional career to date was his appearance as soloist with the New York Phil- harmonic Symphony Orchestra in Carnegie Hall. (December, 1940.)92 COCOANUT GROVE Recorded by BENNY GOODMAN on Columbia R.2767 and on CBS Records 35527 By: Benny Goodman and George Callender Saxe Br. Troms, Ts Tears. P Br. Br. Br Troms. % = ter Copyright © 1945, 1946 by Regent Musie Corporation Copprightfenewed by Raghag Music Publishing Corporation and Jewel Musi Publishing Ce, ne. Ail Rights Contofed and Adminisered by Jemel Muse Potlshing Co. Ine Intemational Copyright Secured All Righs Reservee Used by Permission‘Trampet,94 SIX APPEAL Recorded on Parlophone R.2770 and on C) ds, 35553 and on CBS Records, 3555. ai easy Cond Guitar 7 tas, ae Clar. SOL ‘Copyright © 1943 by Regent Music Corporation Copyright Renewed by Bagbag Misi Publishing Corporation AAIURights Controlled and Administered by Jevel Mase Publishing Co, Tv, Internaional Copsright Seeazed. "All Rahts Reserved Used by Permission‘Vibraharp 2 po Clar, Vibraary Car. Vibra, Vibraharp Plano, Vibraharp Clar,96 INDEX Page Page Assembling the Clarinet ” on oi Octaves, Studies in os a 20 BRA RE oe ay AY Oph BARR . 88 Breath Control. 6 — Rhythmic Staccato Studies - om 36 Chromatic Scale ... 8 — Rhythmic Studies in Various Keys and Time Signatures x Chromatic Studies 38 Se Ss Rhythmic Studies of the Sixteenth Note 37 Clarinade .., we ‘ mm % oo» 76 Rhythmic Technical Exercises... 48 Clarinet, History of the » ot Ga Rhythms, Modem Studies in... 55 Cocoanut Grove ., fe on 92 Seales a Dotted Bigieh and Sixteenth Boe Studies wae, 38 Scarecrom Embouchure a 6 Sevenths, Major and Minor... ee - 1D Fxpression wn new ig as Shivers Hs . 70 Expression Markings .. .., a 23 Six Appeal mee OP Expression, Studies in mn 25 Sixths, Studies in. ~ om 18 Fifths, Studies in mom IP Slipped Die, 6 First Tones to be Practiced 7 Staccato Studies. a 28 Fourths, Studies in ao 16 Studies on the Dotted Bi and Sixteenth Notes... = 38 Gone With What Draft Fe 64 Syncopation, Exercises on, ss lt Grand Slam, = 6 5 Technical Exercises, Rhythmic . 48 ie ee ty. Staind tet eo we SE Intervals, Studies in. «© Peete Acie. 6 Mechanism, Exercises on ~ 26 Tuning the Clarinet 2 Metronome im ae ~ oa ~ 39 Varied Rhythms and Syncopation 39 Modern Studies in Rhythm ~~ ow SE Vibrato va th ‘ 6