Except for the Supplementary (pages 24-25, discussed below), all technique has been written as two octaves, with an overall range from low E to (3 ledger line) high F# (E to f#2). Each section begins on, or is in the tonality of C. Because Scales in Thirds must go one note below the tonic, for consistency, no technique begins on low E.
When there has been an enharmonic choice of tonality (i.e., Gb or F#, etc.), consideration has been given to the most probable key signature to be encountered by a Bb Clarinet (in relation to Concert key):
F# Major - Concert E Major (rather than Gb - Concert Fb)
D# Minor - Concert C# Minor (rather than Eb Minor - Concert Db Minor), etc.
Dominant Sevenths are the same for Major and Minor tonalities; however, because the key signatures of the Major scales have been used, some Dominant Sevenths (specifically: Db, Eb & Ab) should be “thought of” enharmonically for Minor scales.
Diminished Sevenths occur in Minor keys as a Seventh Chord built on the Seventh Degree of the scale (VII7). On pages 14-15, they are written in the two octave form, beginning on the seventh note of the tonality, using the accidentals of the Harmonic Minor Scale (no key signatures are employed). Because there are really only three different Diminished Seventh Chords, each with four enharmonic spellings, a better way of learning them is to initially practice the three octave versions in the Supplementary (page 24), to learn the notes - then practice the two octave versions (pages 14-15) to become familiar with the enharmonic spellings.
The Augmented Triad occurs in the Harmonic Minor Scale as a triad on the third degree of the scale; because this is a relatively obscure “natural” occurrence, Augmented Triads have been presented as the Major Triad (with the Major key signature) with the fifth augmented (i.e., raised). Because there are really only four different Augmented Triads, each with three enharmonic spellings, like the Diminished Seventh Chords, a better way of learning them is to initially practice the three octave versions in the Supplementary (page 25), to learn the notes - then practice the two octave versions (pages 16-17) to become familiar with the enharmonic spellings. Also worth noting is that the Augmented Triad occurs as the only triad in the Whole Tone Scale (two in each scale), also on page 25.
Supplementary contains a full range (E to g2) Chromatic Scale and three octave versions of: Diminished Seventh Chords, Whole Tone Scales and Augmented Triads.
The Blues Scale has been included simply for interest. The scale used is a 6 note scale: 1, b3, 4, #4/b5, 5, b7. The choice on key signatures has been related to the practical, rather than theoretical: C# (Concert B) and G# (Concert F#).
Fingering: The R’s & L’s, indicating the use of little finger Right hand or Left hand should be observed; these have been indicated only where necessary, on the first note when the proper choice of right or left little finger must be made - it is assumed that the alternating of right & left will continue. Other fingering are merely suggestions.
Also includes: a Technique Chart (to keep track of your practice)
Book - 9”X12” - 28 pages - $14.95