| dc.description.abstract | Routine warm ups bring innumerous benefits for clarinetists, including mental
preparation for performances, physical warm up, a review of the fundamentals of clarinet
playing and greater consistency in performance (BURKE, 1995). This study, therefore,
aimed to investigate pedagogical approaches to warm ups for clarinet used by
experienced teachers, Avraham Galper (1999), D. Ray McClellan (1986) and Kelly
Burke (1995), based on their teaching materials. More specifically, it aimed to verify how
each teacher structures the warm up theme; analyze the elements each emphasizes in
the warm up process; and reflect on the performance of these technical-musical
elements in the routine warm up practices of clarinetists. Studies in the area of clarinet
pedagogy by Clark (1983), McClellan (1987), Kycia (1999), Schmidt (2001), Cheeseman
(2001), Dees (2005), Gunlogson (2006), Miller (2010), Pavlovski (2012), Eastwood
(2015), Araújo (2016) and Tse (2018) grounded this qualitative multiple case study (YIN,
2005), which analyzed three exemplars of teaching material for the clarinet warm up.
Semi-structured interviews were also carried out with D. Ray McClellan and Guy
Yehuda, a previous student of Professor Avrahm Galper, and a questionnaire was
completed by Professor Kelly Burke. Based on the data generated, the pedagogical
approach of each teacher was described and analyzed in order to offer reflections and
guidelines for creating routine warm up practices for the clarinet player. Among the
particularities found in the approaches, we can mention the importance of developing
sonority in the chalumeau register and the 2341 offbeat approach (GALPER, 1999),
flexibility in changing the throat register by using the Thing technique and the technical
approach to scales of Labanchi-Weber (McCLELLAN, 1986), exercises for the left and
right hands and extended clarinet techniques (BURKE, 1995). It is also important to note
that there is not a single way to approach the clarinet warm up and that the triad of
sonority, technique and articulation make up the basis for developing a warm up routine.
Finally, it is important to emphasize the value of establishing connections between the
skills developed and the repertoire to be studied. | |
