Oh…..my……God…….I think my tongue just curled up from fright. Remember the Jazz Melodic Minor Scale is merely the Major Scale with a minor or lowered third degree relative to the major scale. He was a supreme risk taker. I believe my book will provide you with the tools to do exactly that, particularly if you supplement the book with some work and oversight with a fine clarinet instructor who has some experience in the jazz idiom. That he turned each of those decisions into a monumental success doesn't negate what a risk they were. Jazz Melodic Minor Scale Routine:Clarinet. LISTEN/VIEW. In no way is the difficulty totally confined to clarinetists, however, as I have seen this problem plague many a saxophone student as well. As a classical player, he commissioned concerti by modern master composers such as Bela Bartok, Aaron Copland, and Paul Hindemith. I was classically trained but I’m learning jazz. Either way I'm ecstatic to have discovered this big band sound. Art Pepper-The Life And Times Of A Swinging Saxophonist, Bob Mintzer-The Essence of Melody, And A Master of the Saxophone, Bobby Keys-A Rock And Roll Saxophone Icon, Clarinet and Saxophone Care, Maintenance and Repair, Clarinet/Saxophone Reed Care And Reed Maintenance, Clarinetist And Jazz Master Buddy DeFranco-A Yardbird Suite Transcription, Concerts At Villa Montalvo Arts Center-Saratoga, California, Edmond Hall-A Profoundly Blue New Orleans Clarinetist. Start with the Ellington Band and the great New Orleans clarinetists, and work your way into the more modern and far reaching clarinet artists. Clarinetists in particular coming from a classical background invariably have difficulty learning jazz phrasing… Thank You for this very informative blog.Art Manchester, It seems that this book is now available to the public to use freely (since 15 July 2016), based on the UR Research archive page I found that provides us a soft copy of the book. What I found gratifying about the Method book was that Artie acknowledged, for once, that his involvement with clarinet technique was serious, with the added bonus that he was consciously aware that it went beyond classical technique. Fingers have muscles, and the muscles need stretching and stuff. Generally speaking, a smooth, legato stroke with the tongue is desirable, particularly when playing the standard swing eighth notes in succession. Those who have listened critically to both men can only come to the conclusion that this was more of a Shavian evasion, or a continuation of the rivalry, than anything else. Enjoy. I'm a 55 yr old who just discovered jazz and more specifically big band only in the last year or so. Please either login or create an account first. Remember to keep the tongue light and make the lines legato, while striving to place the tongue in the proper position relative to the rhythmic content of the line you are playing. Articulation with respect to clarinet (and saxophone) refers to the use of the tongue, where it is placed with respect to the beat, and how the articulation is used to execute phrases. And frequent breaks. He was astonished that I could read music and encouraged me to start playing again aged 70 .I followed his advice and am still noodling at 77.I have always thought that one of the big differences between Goodman and Herman and Artie Shaw was that Benny was above all a business man along with Glenn Miller and Tommy Dorsey all sound musicians good readers but always played safe Artie was prepared to take a risk and was more adaptable .Did not know he played the Mozart so will give it alook and compare with the Goodman version. It doesn't surprise me at all that he was reluctant to talk about technique related stuff. different ways of fingering notes. Practice this way of phrasing on any material that interests you, learn to apply it to some transcribed solos, and then finally implement it in your practice by learning solos note for note off classic recordings. One thing I noticed is how I slowly became an admirer of the AS sound and my admiration for BG became limited as my needs to b challenged by the music were being met by Artie. There is a lot of unquantifiable brilliance to Artie's playing. It takes patience and attention to the rhythmic complexity to make this work out. BG is enjoyable but safe and Artie is exciting and for listeners who don't mind being challenged. I have always loved jazz clarinet, though I don't play myself. I predict the result will lead you to higher ground in your jazz phrasing and articulation going forward. There are lots of things on the net too. Technique de la clarinette moderne La Clarinette et le Jazz; La Clarinette contemporraine; La tessiture (registre grave ou chalumeau, médium, clairon, aigu et sur-aigu) Les dynamiques; Les différents types d'attaque (le Slap, le Flatt) Les sons éoliens; Les multiphoniques ; Les quarts de tons. Have a listen to those if you want to hear how to apply a loose, swinging jazz feel to some timeless classical counterpoint. A concept that I have developed and find very successful for training one’s ear, mind and fingers is something I call “Scale Merging.” I define Scale Merging as transitioning from one scale to another scale, in this case moving from Major into Minor Scales, or visa versa, without stopping or hesitation. But once you have a good-working instrument, the main thing that will give you jazzy sound and fluid response is your choice of mouthpiece and reed. Leblanc or Selmer – Best clarinet for jazz? It's a matter of the historical record that his 1935 band was a hard driving jazz man's orchestra, not the sweet music that was more commercially popular. You might consider stretching exercises for your fingers, and maybe getting one of those grip master things as well.