4

COE

The Vandoren History

Three Generations, ACentury of Innovation
The year 1905 marked the beginning of the Vandoren legacy. Eugène Van Doren (187B
1940) worked as clarinetist at the Concert Colonne Orchestra and Paris Opera, and ike most
woodwind instrumentalists of the time, he made his own reeds by hand. Eugène's reeds, however,
were notably different from th0se of his colleagues, particularly in theway in which the sonory
of the reeds created a uniquely rich and well-rounded clarinet sound. In time, the exceptional
quality of his reeds drew the notice of his fellow clarinetists, who continually borrowed thet.
Eugène's clarinet reeds eventually were in such great demand that he decided to quit play1ng te
clarinet professionally in 1905--the year in which his son Robert was born--todevote his eneres
exclusively
reed factorytounder
reed manufacturing. Working
the Vandoren name initially
at 51, in hisinsmall
rue Lepic Paris.dining room, hethelaterproduction
By necessity, foune of
reeds became mechanized, using a special device of Eugène's invention that operated much like a
sewing machine, and his company was immediately successful. Perfecta
Some years later, Eugène expanded the scale of his craft:smanship to produceBousseyin
ebony mouthpieces, which were manufactured at a workshop he bought at La Couture
Normandy. Conscious of the opportunity that advertising would present, he designed a simple, yet
meticulous,
effective slogan that boldly proclaimed "All our mouthpieces are good. The man was when he
creative and highly organized. He could also be impetuous: he would tear up orders
bybusiness, In
received too many, for the simple reason that he did not want to be overwhelmed
the relentless pursuit of Vineyardsinthe
purchased some
Var, a region in southernimproving the quality of his reeds, he supplyforhis
France, which became the exclusive source of the cane Doren
reeds. To this day, these same to the Van
family. vineyards, the Domaine de L'Anglade, still belong
 5

Prize winner in clarinet performance at the Paris Conservatoire. Robert Van Doren (1905
1996) was an exceptional musician with a promising future. In 1928., he crossed the Atlantic for a one
year tour in the United States, becoming one of the first Frenchmen to give asolo performance at Radio
City Music Hall. His tour was extremely successful, and he captivated New York listeners with the
exceptional quality of his clarinet tone. He soon retired from the pressures of concert touring to became
the driving force of the family business, replacing his father as manager of the Vandoren company.
Ih 1985, Robert purchased awasteland between two buildings-one of which had been inhabited by
Vincent van Gogh-located at 56 rue Lepic, in the 18" Paris district, aminute away from Montmartre. With
this strategic purehase, he relocated the La Couture Boussey manufacturing workshops from Normandy
to Paris and gave a fresh boost to the company. He created and commercialized the famous Vandoren 5RV
mouthpiece, which was to experience a tremendous success among professional and amateur musicians
throughout the world. However, he was sent to the front during World War II, and as aresult, the factories
were closed for some time.
Under Robert's leadership and infuence, the Vandoren company became the paradigm of reed
manufacturing. The best musicians of the time, among them jazz musicians Sydney Bechet and Benny
Goodman and classical musicians Louis Cahuzac and Ulysse Delecluse, would regularly visit and solicit
advice from him, seeking recommendations from awise person who was also a great musician.
The third generation of the Van Doren family, Bernard Van Doren (b. 1945), joined the
company in 1967.He was blessed with his grandfather's mechanical genius and was endowed with his
father's keen acumen for business, recognizing that increased competition from other reed manufacturers
necessitated modernization in factory production. He was a tireless innovator: he replaced the machine
belts with motors, designed carbon tools and developed extremely sophisticated systems that reduced
manufacturing tolerances to less than /100h of a millimeter.
Under Bernard's direction, a new generation of molded mouthpieces was designed, the basic model
being the B45 from 1968, which today is as famous as the 5RV. Since then, many other mouthpiece models
and reed designs have followed. In 1982 Bernmard launched the Master ligatures, in 1983 the Java sax reeds,
in 1985the reed protector, in 1986 the half-strengths, in 1990 the V.12 clarinet reeds, in 1993 the V.16 jazz
sax reeds, in 1997 the Optimum igatures, and in 2003 the "56 Rue Lepic" clarinet reeds. New products
continued in 2005, the 100th anniversary of the founding of the Vandoren company, most specifically the
"Klassik (string) ligature and the new leather ligature. And for 2005-2006, the completion of the saxophone
mouthpiece range for classical music and jazz (the Optimum and V.16 lines).
In 1990, Bernard transerred the Vandoren workshops to the South of France, at Bormes-Les
Mimosas, near the company's cane fields and the Domaine de l'A nglade. He retained the factory at 56
Lepic as the Parisian address for French and foreign musicians.
Today, Vandoren products are distributed all over the world, to more than 100 countries. As
Eugène and Robert did before him, Bernard has perpetuated the company spirit, the excellence and
the perfection of quality.

Eugène Van Doren Robert Van Doren Bernard Van Doren

WF55
 7
Eddie Daniels is clearly a renaissance musician, a virtuoso in both jazz and
classical music, recipient
ofunreserved accolades from his peers, from critics, and from the public. Eddie's overriding ambition
is to reach as many people as possible with his music, to
enlarge the audience for both jazz and
classical musicand at the same time to tear down the walls separating them. In Eddie's
music of Mozart can be as engaging as that of Charlie Parker, and a concert hands, the
featuring both can be
a uniquely rewarding experience for the audience.

Bddie Daniels Plays These Vandoren Products:

Vandoren V.12 and Vandoren 56 Rue Lepic Reeds

Philosophy and Explanation

The secret to playing the clarinet or any instrument for that matter is
learning how to play and
practice slowly! When we practice slowly, we teach our bodies how to play the clarinet, so that
when you are on stage, you can let your body play the instrument, and the rest of your being can
be reserved for expressing the music.
Clarinet playing is all about fow and smoothness. Getting a player to have even
key.Work toward: connections is the
1. Smoothness of sound/tone.
2. Smoothness of finger technique.
3. Smoothness between notes.
4. Smoothness between chords.

The following exercises and warm-ups help the player to make these smooth, even connections, so
that your playing will fow from note to note, phrase to phrase and through complete compositions.
Practice slowly and smoothly!

"The most fun happens in music when you're not doing it, when the musie plays itself. Why is this
night different than all other nights? Why is music different from anything else in life? When we
let things flow, joy happens."
-Eddie Daniels
"Eddie breaks down the barriers between student and instrument. Making music becomes more fun."

-Eddiedanielsclarinet.com
 9
Smooth Connections
EDDIE DANIELS
slowly with a beautiful tone and Smooth connections.
Play warm-up
J=60

triads:
Think of the pattern in three steps. First, as descending diatonic
J=60 etc.

Second, add a leading tone:

LT LT LT etc.
LT

Third, add a note above in the key:

NA NA etc.
NA NA

Ine second step occurs in the first movement of the Clarinet Quintet by Mozart.

The third step OCcurs in the song Killing Me Softly.

WFS5
 -IV-V; Flow
10
EDDIE DANIELS
Legato

10
be

I3

15

WF55
 FulerumWarm-upStudy
Heritage Dictionary of the English Language, is"the point
in The.American In the Fulcrum Warm-up Study, the note E on the
fulerum., asdetined lever turns" first
A sbout which a the starting place, support point and ending place of each
orsupport represents
line ofthe stafi One must imagine a seesaw
component
(the kind that children enjoy playing on), and the
exervise. increasesin both directions with each thrust of the
ofthe which the rertical angle gradually
mannerin end. The frst line Eis analogous to the midpoint of the seesaw, the balance
either either side of the E rotate, and
child'sleg at constant. The notes on gradually increase
renmains
point which bythe interval of the minor second, until a double octave is achieved. This warm-up
chromatically
,developing and maintaining embouchure
development, breath support,
helpful for tone intervalssmoothly, and developing stability
is
flexibility, learning to connect larger may be difficult to achieve at first,accurate intonation
but with
and larger intervals
they willeventually be assmooth as silk. This study is freely based on apatience
larger intervals. The
andthe
for perseverance concept
teacher Leon Russianoff
br thegreat clarinet
metronome!)
Tempo: = 88-92 (Use a
Dynamic :gff

Fulerum Warm-up Study

SlowBy =88-92
MITCHELL ESTRIN
Minor second

Exhale ------ Inhale

1-2-3-4 1-2-3- 4
Major second

Minor third

Major third

Perfect fourth

mf
Tritone

mf bt

VIF55
 Perfect fifth 33

mf
Minor sixth

mf
Major sixth

mf
Minor seventh

mf #
Major seventh

mf
Octave

mf

Arpeggio/Articulation Warm-up
Clean, clear, precise and rapid articulation is the goal of every clarinetist. In order to assist my
students (and myself) to develop and maintain excellent articulation, Icomposed the Arpeggiol
articulation
Articulation Warm-up. Not only will this study help to develop a sturdy and facile strengthen the
serve to
technique, but by cycling through all of the major and minor keys, it willexperience any difficulty
one
player's command of the instrument in all of the various keys. Should
passage with absolute accuracy first, and
In executing the three-octave arpeggios, try slurring the support and embouchure stability are
breath
then attempt to articulate. Remember that proper
essential for achieving excellent articulation.

Tempo:J= 100-120 (Use a metronome!)

Dynamic:mf
Practice Suggestions:
I. Alternate daily between the major and minor arpeggiS. staccato; tomorrow,
day to day (For example: today,
Vary the length of the articulation from
tenuto and such like).
3. Strive for symmetry in your articulation. quality of your
increasing the speed of your articulation, but also on the
t 10Cus just on
sound while articulating. sure the tone
quality when articulating at all dynamic levels. Make slurring.
stel Carefullyto the tone dvnamic levels and sounds exactly
the same when
same guality at all
antains the all of the arpcggios.
which voucan accurately execute
- d a comfortable temnoin
I. Gradually increase the tempo over time.

NF55
 LE
T1HHDLI NINISH
IttI-96
=f
 88

ttto.

7L-9S=f
I
9 9

9 9

9
 68
9 9

9
4

9
9

9 9 9

9 9 9 9

9 9

9
9

9
0

9 9

9
9 9 9

tt. ttt:

9 9

9
9

9 9

9
9

9
0T1-08
1 =
9
 43

th.
tttto.
t. .

General Pointers
longtones, scales and articulation
Structure your daily warm-up verycarefully. Be sure to include
practice.
musical element for a clarinetist (or any
. Kemember: scales are the single most important knowledge, understanding and
nstrumentalist)to practice. One should strive fora thorough minor scales, chromatic scales,
major scales,
iawiess execution of all scales. This means the
sevenths and all related arpeggios.
Wnole-tone scales, thirds, dominant sevenths,diminished
cleanly.
ever practice a passage faster than you can execute it
4. The warm-up is a great time to break in new reeds.
5. Good luck and
have fun!

Acknowl edgementtos my
Grateful thanks superb clarinet teachers, each of
much to my
whom have contributed so Wollwage,
Walter
Meron, Jerome Stowell, students, who
musical Estrin, Samuel
John and perrsonal success: Harvey To my
mentor, Stanley Drucker:. inthe preparation
Leon Russianoff, and especially my
inspire Moses, Rowan for his assistance
me each and every day. Specialthanks to Kyle
of these materials.
84
Weber
David

About David Weber

David Weber, born in Lithuania, came to the United States at the age of eight. Later he was
awarded the New York Philharmonic scholarship to study clarinet with Simeon Bellison. David
Weber's career includes virtually every major musical ensemble in New York City: NBCSymphony
under Arturo Toscanini (1938-39 and 1952-55),The Metropolitan Orchestra (1939-42), The CBS
Symphony (1942-51), Symphony of the Air under Leopold Stokowski (1954-57) and The New York
ity Ballet(1964-87), He also taught at the Juilliard school. He has recorded much of the clarinet
repertoire with New York's leading musicians, including the award-winning recording of Overture
on Hebrew Themes with the Carnegie Sextet. He has also recorded on Decca, Stradivari, Lyrichord,
Cambridge, and Columbia Masterworks labels.
David Weber would like to thank his former student and friend. David Gould for all of his help in
compiling and editing the studies for this book.

David Weber Plays These Vandoren Products:

Vandoren 5RV Lyre Mouthpiece and Vandoren Traditional Reeds

Philosophy and Explanation

Daily Studies for the Development of Tone and
Flexibility
Part One. This etude is designed to improve vour tone. You must. have
sound you want to produce. This sound should be an aural concepue
homogeneous
clarinet. Play with a pointed chin and a firm embouchure.drawingthrough the entire ralt
the lips back at the col
It is important to be able to tjustblow
start
into the clarinet; blow through theand stop the
clarinet. Thesound
sourcewith shouldinaudibly.
yourairtongue
of the Do not, Always
be the diaphragm.
play with your throat open while supporting from the diaphragm. Make Sure that the loudest
part of the phrase is the thenslowly
beginning
decrescendo back to pianissimo. of the whole note. The
whole note begins forte,
WF55
 Daily Studies for the 85
Part
One

=60
of Tone and Development
Flexibility DAVID WEBER

-PP
fPP
b
-PP Pp
f p

PP PP
fP

-Pp Pp

PP PP f Pp

f -PP PP

P PP Pp PP

Pp Pp fp

f p
f P P PP

fp
PP Pp
86
arpeggios as well. Mentally
crescendo and decrescendo
Two. Apply
on
everything each
from note
the first
of part
the totheseThink it, but do
arpeggio. think
of a
not do it physically.
Part Also be aware that you
in between each note. may have to
help eliminate the spaces
achieve a Smooth connection
This will notes to
embouchure between certain
adjust yor
knuckles. Swing your fingers in both
The finger motion
should start fromthe back
coordination of the fingers as to have a
diclean
rections
to and
fromthe clarinet. Be
verycareful
extra
with the
notes. You must place
technique
your fingers, never slap or grab the keys or
tone
free of squeaks and
may raise your fingers more, but in rapid tempos keep them close to the
holes! In slowtemp0s, you
clarinet.
This exercise should not be approached like a technical study, but rathe atrue musical phrase,
the same initial intensity of air
beautiful solo. The exercise should be finished with and
part of a
mental concentration.
in tho
studies are perfected, try to think of them as part of a cadenza. Slow un
When these Alwave L
full sound, in tune and never strident.
register to ensure that you are playing with a
go into the upper register.
the throat open and the lips relaxed as you
sure not to rush through thie
The section marked Very Slowly is used to relax the embouchure. Be relaxed
a manner.
section. Always try to produce the most beautiful sound possible in

Part Two
=60 5

PP fpp PP fPp PP

PP
PP PP

Pp
f>PP Pp
6

Pp
WF55 fPP Pp
PP
 8

ddf
dd dd dd=f

dd
dd

dd 9
dd

dd dd dd dd

9
9

ddf
dd dd dd

dd dd</ dd

## dd
dd
dd
88

dd<f
dd<f dd dd
dd

ddf
dd dd
dd

dd dd
dd
MOIS

d
 89

Very slowly

nf

Finger Technique
You must practice these exercises in at least the three tempos listed. Each one should be played six
times. Always remember to blow through the clarinet.
When playing rapidly, keep the fingers close to the dlarinet and always push the air with the
diaphragm. Ihave marked many alternate fingerings to be sure that you are fully acquainted with
the clarinet and all of its possibilities. Many of the forked fingerings are applicable primarily in the
rapid tempos where pitch will not be scrutinized.
mind that
These finger exercises should be practiced legato and with different articulations. Keep in
the air column is constant. The tongue is used only to interrupt the air
column and the vibration of
the reed. Sokeep the tongue close tothe reed.
staccato has hardly any space between
Ilike to use a portamento staccato in certain situations. This
staccato note. Its duration is contingent on
the notes. You must always consider the length of each
longer staccato; conversely in a rapid tempo,
the tempo.In a slow tempo one generally plays with a
possible.
we want to be sure to play as short as
 90
Finger Technique
DAVID WEBER
Largo = 60
Andante = 120
Presto =120

R
LA
R

L-R

L R
R
R R R

F1

L-R slide

WF55
 91
R

F1
R R
R
R
R

R
F1
(3) e te

be
98
Seamless Legato
overfor
Exercise RegisterBreaks
JOHN BRUCE YER
J=60

P
Resonance
B
Fingering: 1

1
3

E3

GA G#
1
G
3 c3
B
1

G: G# G# G#

12
E,3

Use entireright hand, plus note key.

WF55
 99
Add B key Add Ckey
Add C: key

AddE»key

Add B key Add C key Add C# key

Add E> key

Keep fingers close.

ttt
 that the music must always be shaped with changing
ideais
main means "changing and not static." Once any two notes or
areplayedatexactlythe same dynamic or intensity level, the music any
4dynamic"
dynamics. After
twotOparts
ceases
all, the
move.of This word
is true of
a single
101

note
and trills as
well.
notes
long
measured
values, with
Irecommendpracticing trillsin toattention dynamic gradations. Following
areexamplesfrom the Baermann Staccato and Trill Exercise No. 2, in which trills are written as
actualnotevalues,

Staccatoand Trill Etude No. 2, m. 22

Baermann,
From

3
f>mp p Ef>mp pp mf
Trill Etude No. 2, m. 26
Baermann, Staccato and
From

6
6
pyf

made suggestions for dynamics and breathing. The individual

is
In the following exercise, I
have
encouraged toexperiment. The important thing to remember
is intensity level.
player may have other ideas and
should ever be played at exactly the same dynamic or
that no twosuccessive notes
always be achieved in this
music.
Asense of motion should
 Usually a trill will sound more natural when it has a 109
diminuendo
erescendo at the very end. When the tempo of the music is fast., a at the beginning perhaps
and
(accent); otherwise, the music can sound non-rhythmic. It is trill must have a quick
a
diminuendo in phrasing. This may be more difficult to do onvery diminuendo
important incorporate
to the
instruments, because it is relatively easy to produce a sound the clarinet, compared to other
without an attack on the
But most sounds in nature begin stronger and usually clarinet.
of movingaway infinitely. Using the
diminish silence, giving the
diminuendo phrasing
to
in is an important skill to impression
allows the musician to drive the direction of a phrasemore develop, as it
naturally.
in psnagnol by
tempo that is Rimsky-Korsakov
is one of our more popular
not too fast that allows for orchestral audition pieces
complete accuracy.
articulations, as the composer has indicated, is especially important. Accuracy in the execution of
mlle should be dynamic. Practice first as
measured five-note trills. Make a large accent on the first
note and diminuendo over the following four.

Dimsky-Korsakov: Capriccio espagnol, op. 34: I. Alborada

m. 4

5
tfpp mf f Pp mf sff

Capriccio espagnol
I. Alborada
Vivo e strepitoso (= 108-116] NIKOLAI RIMSKY-KORSAKOV, Op. 34

Clarinet
in A
f con forza
tr tr tr

tr B
tr tr

C
Clarinet
in A
6
ff con forza
tr tr
tr