Hi everyone,

Here is the homework for this week.


  • Begin your practice session with the chromatic scale. You may either begin on your low E, go up to high C and then down, or vice versa (start with high C, and go down to low E). Try practicing both ways!
  • Work on your register slurs in the specific register of the clarinet we discussed (I believe I circled it on the fingering chart). Watch your tuning in the upper register! It will tend to be flat, so try to “tighten up” to compensate and to hear the correct pitch before you play the note.
  • Work on your C major scale, both octaves (the first line on the “Review of Major Scales” page in the Rubank book). See if you can play the scale with and without the music. Remember, isolate groups of notes in threes and fours that need the most work. Don’t practice the full scale up and down, mindlessly.
  • Keep working on the two pages in the Rubank book we have been looking at. Try staying in time with the metronome, instead of stopping and starting with each note. Remember – when tonguing your notes, you don’t need to leave space in between them! Hold notes for their full value.
  • Remember to switch up your reeds. If your reed is too soft, you will have problems with tuning, squeaking, and playing your high notes with a good sound!


  • Work on perfecting your chromatic scale. Remember to spend some time isolating the difficult parts of the scale!! This is incredibly good practice for general dexterity/efficiency on the instrument.
  • Keep working on your major scales as well. The same thing as above applies – practice small groups of notes and only move on once they are clean and completely even. Really focus on getting the notes around the break (approximately G to C) clean and well-timed for all of your scales.
  • Take a look at the new, harder band piece we were working on. Practice the sections like we talked about (I believe we circled them on the page), and once the individual sections of the piece are clean, add them together. Don’t rush your eighth notes!
  • Spend some time looking at the Sea Shanty variations as well. Again, make sure to stay in time with the metronome (don’t rush) and watch out for coming in early after rests.


  • Watch out for your tuning, in general, but especially in the higher register. Using harder reeds with more resistance will probably correct this for the most part, but remember to tighten up your embouchure in the upper register of the clarinet.
  • Continue working through Washington Post March. Remember to pay attention to the correct articulation markings, and don’t add slurs in where they aren’t supposed to be.
  • Look at the Zombie Tango some more, and really focus on getting the correct rhythms and “feel” of the piece. Try listening to a recording or two and listen to what your part should sound like – pay attention to what notes/beats get the emphasis. Remember, if something is off beat with a rest on beat one, try adding a eighth note back in until you can hear what it would sound like.
  • Keep looking at your major scales, and the associated exercises/studies we’ve talked about! We’ll add a new one this week.