Customer Reviews

Clarinet (Yehudi Menuhin Music Guides)

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I first read this book when I was about 12 years old (just a few years after it was first published). Call me precocious, but I was able to follow it then, as a beginning clarinetist, even though some of the technical matters described were beyond my abilities at the time. One need only pick up books by Wm. Stubbins or O. Lee Gibson (both brilliant clarinetists and teachers, by the way) to appreciate how conversationally and easily Mr. Brymer explained highly technical matters in this book.

Now, as an experienced clarinetist and private instructor, I find myself recalling concepts that Mr. Brymer taught in this book every time I teach lessons (or pick up the horn). I feel this book was a lot of what transformed my interest in the clarinet from "something to get me out of P.E" to something that I sought to excel in.

Anyone who is interested in clarinet may benefit from this book, but the author does not attempt to speak to beginning students.

For instance, the book begins with chapters on the history and acoustic principles of the clarinet. These will interest seasoned players, but beginners may wish to skip these early chapters. Photographs of early clarinet construction will probably interest everyone, though.

Excellent chapter on teaching clarinet gives well-reasoned opinions on the sequence in which various skills should be introduced.

Very good listing of the concert and solo clarinet repertoire. Dated discography, but many of the LPs listed are likely to be available as CDs by now, so it still serves to point to good performances.

The book's most positive feature is the author's emphasis upon the process of discovery - that is, learning how to interact with one's instrument and keeping track of both successful and failed techniques. It helps to remember that the clarinet's intonation is a compromise, and that progress is dependent upon the player's sensitivity to the pecularities of the instrument.

The principal shortcoming of the book is its very passive voice; it was a tiring read. The author doesn't always state his conclusions directly, and attempting to trace antecedents often was frustrating. It is worthwhile, but (unless the reader already is comfortable with such a style) be prepared to make an above-average effort as you read this book.

This is not a book for beginners. If you are just starting to learn the clarinet, you'll be better off with something on the fundamentals, say the book by Keith Stein. But once you are able to play in a band or ensemble, you owe it to yourself to learn a little more about the clarinet. And this book is very valuable for doing just that.

The best part is the chapter on clarinet acoustics. I loved the parts about fingering, tone hole size, and differences between the B-flat and A clarinets. But the entire book is instructive and a pleasure to read.

Interesting information about the instrument's history since the primitive chalumeau to the modern systems. Also presents useful tips for beginners.