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BASIC TECHNIQUES APPLIED IN JUNIOR SECONDARY 

SCHOOL CLARINET TEACHING: A TEACHER’S PERSPECTIVE 

 

Ogechukwu Jacinta Onyedum 

 

Abstract 

nstrumental music learning is supposed to commence from 

childhood; as early as three years, as obtainable in the Suzuki 

method of violin learning so that the learner can improve 

relatively faster.  Research has shown that students prefer music 

that they can watch, dance to and participate in, whereas the music 

taught in the classroom are mostly theory based in content and 

therefore is faced mainly with poor response of students while being 

taught in the classroom. Through participant observation and 

consultation of relevant literature, this work investigated students‟ 

participation in music performance at St. Jude Private School, Lagos; 

and tries to provide basic instruction that contains the concepts and 

fundamental knowledge of clarinet, skills, values and right attitudes 

towards instrumental music performance needed to play the clarinet.  
 

Introduction 

Music deals with the combination of different sounds that are 

pleasing to the ear. It is expressed by Protnoy in Idolor (2002) as: 

The combination of sound and rhythm by human beings to 
be sung or played on instruments with the task of 
pleasing the emotions and stimulating the intellect in 
accordance with the society‟s theoretical framework 
(p.54). 

In addition, Onwuekwe (2017) noted that music is „the art of 

combining sounds or tones for reproduction by the voice or by the 

various kinds of musical instruments in rhythmical, melodic and 

harmonic forms to affect the emotions‟(p.2).  In general, music can be 

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said to be a language that is universal which appeals to all when played 

rhythmically, melodically and harmonically in a way that it affects 

emotions. 

 

On the other hand, music teaching and learning are faced with miriads 

of problem; however, there are different measures that can be taken 

to enhance the learning of music in schools. Learning is a fundamental 

process of life engaging, affecting all forms of behavior skills, 

knowledge, attitudes and personality. The term learning is very 

comprehensive and it covers a wide range of activities which cannot be 

explained within a limited frame work; hence the need to take a brief 

look at what it entails. 

 

The Concept of Learning 

Learning as a concept is a worldwide phenomenon; practiced all over 

the world; taking place at all times and in all things. Learning according 

to Burns (1995) is “a relatively permanent change in behavior which 

includes both observable activity and internal processes” (p.12). In 

same view Ekeruo, et al in Sam (2006) support that “learning is a 

relatively permanent change in behavior,” but added that it is “as 

evidenced by a change in performance through practice” (p.21). 

 

Music Pedagogy 

Music pedagogy according to Ogbeide (2018:467) is defined as “the 

act or process of imparting musical knowledge and skills on students.” 

Her definition highlights two key facts- imparting musical knowledge 

and skills on students. In another earlier definition, Ekwueme (2010) 

noted that music pedagogy is closely associated with the teacher, 

teaching methods, and learning environment, as well as the overall 

climate in which the process of education takes place. Hence, from 

her view of music pedagogy closely associated with the teacher, 

teaching methods, teaching-learning materials, it therefore requires 

adopting the teaching method that will motivate and enhance what 

Ojukwu (2011:58) termed the teacher-centered teaching known as 

expository method and the learner-centered teaching called the 



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discovery method. Observing this method of teaching will enhance and 

motivate the learner‟s ability of engaging themselves in musical 

experiences and performances. In line with this, Onyiuke (2003) noted 

that:  

Within the music class the teacher should make adequate 
effort to establish a favorable musical knowledge, 
understanding and responsiveness. The teacher should 
provide both stimulating and challenging environment 
where the child [the learner] can explore to achieve 
his/her objectives (p.69). 

 

Music pedagogy is the process of attending to the learner‟s needs, 

experiences, feelings and making specific interventions to help the 

learner improve maximally and be effective in learning particular 

things. Thus, the efficacy of music pedagogy is that it is the process 

of music teaching, learning and training the learners/students in 

acquiring musical knowledge, skills, principles and values in order to be 

sensitive to music and be useful members of the society. 

 

Performance Pedagogy 

Ekwueme (2012) defines performance as an act of doing or performing 

a task. His definition highlights one key fact- preforming a task. The 

task might represent singing or playing musical instrument in a concert 

or having musicians performing before an audience. Pratt (1995) in 

Onyiuke (2006:40) had earlier posited that performance, whether by 

singing or playing an instrument, is one of the two principle means of 

developing and sharing musical skills, creativity and understanding. 

 

Hence, performing by playing musical instrument is an effective way 

of developing student‟s musical skills and creativeness that enhance 

the development of musical understanding. Campbell & Scott-Kassner 

(2010) assert that: 

Making music is equivalent to playing musical 

instruments. Because musical instrument are 

extensions of the musical self, when children play 



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they are often demonstrating what they know and 

can express musically. To play a musical instrument 

is to deliver to others ideas that are not easily 

expressed verbally (p.218). 

In the same vein, the playing of a musical instrument can precede and 

later coincide with the reading and writing of notation. Nketia in 

Ezeugwu (2016) agrees to this view as he states that performance 

opportunities provide the learner with “exposure to musical situations 

and participation more than formal teaching” (p.6). Musical 

performances often attract wide and open participation and at such, 

when student participate practically with their musical instrument, it 

enhances effective learning. Why count rhythms when they can be 

felt and played on a musical instrument? Why learn staff notation 

when the symbols can be realized musically? A Chinese proverb says 

“Tell me, I will forget, show me I might remember, involve me and I 

will learn”. Onwuekwe (2007) rightly observed that: 

Learning takes place best when children are involved in 

the teaching-learning process. For the young learner, 

music should be the discovery of musical sound- what it is 

like, what produce it, how he might respond to it, how it 

is organized and how he might manipulate it (p. 29). 

Students begin to learn when they are deeply involved in the learning 

situation. For instance, in learning the clarinet, to get the students 

involved, substantial attention should be given to method of teaching 

and learning of how to play Clarinet. It is essential to always have a 

starting point. For beginner‟s, learning should progressively be 

arranged from simple to more complex learning. To achieve this, the 

learners/ students must practice severally and master one task 

effectively before delving into another one. 
 



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Theoretical Framework 

This study is based on Edward Thorndike‟s Connectionism theory 

(Trial and Error theory). Discussing this theory, Alao &Ademiyi in Agu 

& Okpara (2017:29) observed the following: 

1. Law of Readiness: Once a person is motivated to embark on a 

task, doing it brings satisfaction to the actor or learner. 

2. Law of Exercise: Thorndike‟s promotes repetition because it 

leads to learned association. Constant practice is needful if an 

action must be mastered and not forgotten. Lack of practice 

leads to forgetfulness. 

3. Law of Effect: Thorndike is of the view that any action that 

produces satisfying effect will certainly be repeated. 

The music teachers must learn how to motivate students to learn and 

participate effectively in the learning process. This can also be 

achieved through Operant Conditioning learning theory propounded by 

B. F. Skinner in modifying the students behavior through the use of 

reward, positive and negative reinforcement like commending any 

positive effort or improvement of the student‟s with positive remarks 

such as „very good‟, „good effort‟, „good attempt‟, „great‟, „well done‟, 

etc. While negative reinforcement should be administered with 

caution and as a last resort to avoid discouraging the students‟ effort 

of learning how to play musical instruments. 

The Clarinet 

The first iteration of the modern day clarinet was invented around 

the year 1700. The word „clarinet‟ by itself always refers to the Bb 

clarinet. However, there are several different types of clarinets and 

the most common are; Bb clarinet, Eb clarinet, A clarinet, the bass 

clarinet, the contrabass clarinet, the contra-alto clarinet and the alto 

clarinet. Clarinets are used in all types of music and each clarinet has 

its own unique sound and, therefore, its own applications. However, for 

the purpose of this study and for a beginner, it is advised that you 



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start with the very common Bb clarinet which is the best one to learn 

first and it will be the one you use the most by far. After that you can 

determine which other clarinet that will suit your individual needs  
 

Clarinet Accessories and Setting up Routine 

According to Bennett (2006:6), it is important to know that your 

complete outfit should include: upper joint, lower joint, bell, 

mouthpiece, reed, mouthpiece cap, barrel, ligature, cork grease and 

pull-through cleaning cloth (See appendix). Before you play you must 

learn how to set up your instrument to avoid damaging it.  

1. It is important to make sure that the reed is good and swirl 

saliva around the reed to moisten it before you play. 

2. Connect the upper and lower joints using a twisting action and 

check the alignment of the joints. 

3. Twist on the bell, the barrel, and the mouthpiece. 

4. Attach the reed to the mouthpiece using the ligature and it 

should be tight enough to hold the reed firmly. The end of the 

reed needs to be exactly level to the tip of the mouthpiece. 

5. Gently push the mouthpiece onto the barrel with a light twisting 

action and make sure the cork is greased. 

It is important to spread a little grease on the cork from time to time 

and always use the pull-through cleaning cloth to dry your clarinet 

after playing, also wipe off excess moisture from the reed before 

replacing it on the mouthpiece. Before playing the clarinet, there are 

basic techniques required for effective teaching and learning. 

 

Basic Steps Applied in Learning the Clarinet 

Clarinet playing is an observable behavior which takes its root from 

internal activities such as the rudiments of music before the actual 

playing of the musical instrument. The basic steps the researcher 

applies have to do with theoretical and practical methods, which 

includes; knowledge of rudiments of music, posture and holding the 

clarinet, breathing, embouchure and tonguing. 



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Knowledge of Rudiments of Music 

Here, the learner is exposed to good knowledge of basic rudiments of 

music. This is exoected to cover topics like lines and spaces, clef, note 

names, note values, their rests, ime signatures, bar lines, accidentals 

and so on.  

 

Posture and Holding the Clarinet 

Posture refers to the position of one‟s body when playing the clarinet 

either by standing or sitting. When standing, you stand in a relaxed, 

comfortable and upright way with the feet slightly apart. When 

sitting to play, sit upright and at the edge of the chair with your feet 

slightly apart. When playing the clarinet, the way and manner in which 

you hold it matter a lot. On holding the clarinet, Bennett (2006) 

asserts that: 

The joint of your right thumb should be placed 
underneath the thumb rest half way down the clarinet 
and cover the thumb hole with your left thumb... the 
fingers of each hand should curl around the body of the 
clarinet to the front, making sure they do not push 
against any keys at the sides. When playing the clarinet, 
it is necessary to always held it at an angle such that 
your right thumb should be about fifteen centimeters or 
six inches away from your body Bennett (pg.8) 

 

Breathing 

Breathing in the normal sense is made possible through the lungs. He, 

who breathes well, plays well. When breathing in and out, always use 

your diaphragm which is the muscle between the lungs and the 

stomach that causes your stomach to go out when breathing in and to 

go in when breathing out. To be able to control your breathing when 

playing depends on your effectively using your diaphragm than 

breathing with the muscles high up in your chest. Bennett (2006:8) 

records that “a relaxed, controlled posture is essential for and 

correct breathing”. He, who breathes well, plays well. 



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Embouchure  

According to Bennett (2006), good embrochure would include turning 

the bottom lip in slightly so that it rests on one‟s bottom teeth; 

placing the mouthpiece in the mouth so that the reed lies on the 

center of your bottom lip with about a centimeter. Then rest your top 

teeth on the top of the mouthpiece, and, while smiling slightly and 

keeping a pointed chin, close the sides of your mouth around the 

mouthpiece. It is necessary to note that the lips should form a firm, 

air tight seal around the mouthpiece and make sure that you don‟t 

puff your cheeks out when playing. 

 

Tonguing  

Tonguing is used to stop or release the air into the clarinet in order to 

produce sound. When tonguing, the tongue should touch the underside 

of the reed, near the tip. The following techniques are very necessary 

as observed by Bennett (2006), in order to ensure a clean attack: 

i. Breathe in and form the correct embouchure. 

ii. Place your tongue along the underside of the reed so there is 

about a half a centimeter of contact, from the tip of the 

tongue to the tip of the reed. 

iii. Start a note by releasing the tongue from the reed as in the 

word Dee 

iv. While tonguing, make sure that the note should have a definite 

and tidy beginning. 

 

Application of the Basic Steps 

The following techniques for teaching the clarinet was actively applied 

on JSS 3 students of St. Jude Private School located at 5th Avenue 

Festac Town Lagos and the researcher. Mr. Odewumi E. O. is the 

music teacher. The researcher carefully observed the teacher who 

gave his full accurate support and rapport during the study. The 

materials used are A NEW TUNE A DAY FOR CLARINET by NED 

BENNETT and LEARN AS YOU PLAY CLARINET by PETER WASTALL 

which are very essential for a beginner and achieving goals in 

performance. The excercises are as follows: 



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Exercise 1: Practicing of long notes daily; observing the rests and not 

forgeting to tongue each note. 

Exercise 2: Trying the exercise below and observing the rests; 

breathing in quickly during quarter-note rest. 

 

Exercise 3: Playing pieces containing E, D and C. 

Exercise 4: Teaching new notes F and G; observing dotted notes as 

explained before and tied notes which are the same pitch joined 

together to make a longer note. 

Exercise 5: Playing piece containing F. 

Exercise 6: Playing piece containing G.  

Exercise 7: Teaching new notes A and F# and introducing dynamics. 

Taking note of the following:  

i. „A‟ is played by rotating your index finger upwards 

so the side of the finger opens the key. This will 

ensure smoothness when approaching „A‟ from 

lower notes. 

ii. Rolling the index finger: Without expression, music 

can be lifeless and mechanical. Ways by which 

color is introduced in music is to play a piece by 

different levels of loudness. F stands for the word 
forte and means loud. P stands for the word piano 

and means quiet. 

Exercise 8: Playing of note according to the dynamics displayed 

underneath them. 

Exercise 9: Playing notes while observing the accidentals  

Exercise 10: Playing piece containing A and F#. 

Exercise 11: Teaching new notes B, A and G. 

Exercise 12: Playing of Appegios etc. 



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Summary  

Generally, for effective teaching and learning during the training 

period, it is very important to evaluate each of the students 

individually or perhaps in groups to consider or ascertain their level of 

understanding and improvement in the performance practice. This 

view is supported by Leonhard and House in Mbanugo (2006), who 

observed that “evaluation is essential to high level of motivation in 

learning and the improvement of teaching methods…., Evaluation 

should be comprehensive and continuous” (p.48). 

 

However, the impact of the teaching on the student learning needs to 

be ascertained. Upholding the above view, Onuora-Oguno (2007:79) 

asserted that “evaluation is a process that involves an interaction 

between two or more individuals.”  

 

For effective evaluation, the following summary on guidelines for the 

teachers and students on the teaching and learning should be 

followed: 

To the Teachers: 

1. The students should be acquainted with the rudiments of music 

that is relevant for clarinet playing. Rudiments of music are the 

foundation of clarinet playing. 

2. Before the commencement of a new lesson, the students should 

play their take home-work given to them to evaluate their level 

of understanding of the previous practice. 

3. New notes should be introduced step by step with fingering 

exercises and playing pieces containing the new notes. 

4. Observing the above number three guideline, sight-reading 

exercise should be simple at this stage. Try to motivate the 

students into reading the scores and playing them without 

writing the names of the lines and spaces on the scores. 

5. The students should be motivated into playing shorter 

instrumental solos to help them develop a melodic memory. This 

will enhance their ability to remember melodic phrases. 



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6. The students should be exposed to scales and arpeggios and try 

as much as possible to play it from memory steadily and slowly. 

They should play within the range of the musical notes that 

they have been taught. Starting from one octave and proceed 

to two octave. 

7. The posture and diaphragm should be adhered strictly to. The 

student should stand with a relaxed posture and make serious 

effort to play with an open throat for it will improve their tone. 

8. It is very necessary that the students own a tutorial book that 

you as a teacher is using to guide them which will enhance easy 

practice. 

All musical instruments require a degree of training before mastery. 

 

To the Students/Learners 

1. The students must own a clarinet for a good performance 

practice, and must be ready to work with the music teacher. 

2. The students must be conversant with rudiments of music 

relevant to clarinet playing. 

3. It is very necessary to do every home-work given diligently and 

be ready to sacrifice time and energy to practice. 

4. Take your time and aim for a clear confident style. Play a piece 

slowly and accurately than to bluff your way through it quickly 

or being impatience to play. 

5. Try to start every practice sessions with long notes to improve 

your tone and build up your strength. 

6. Practice your exercise every day to improve your dexterity (the 

skill in using your hands). Don‟t play a piece nearly right, it 

should be completely right before you move on to the next. 

7. Practice your scales and arpeggios steadily and slowly to 

enhance your fingers flexibility. 

8. The students must own a good clarinet tutorial book such as; A 

New Tune a Day for Clarinet by Ned Bennett, Learn as You Play 

Clarinet by peter Wastall or any tutorial books your music 

teacher prefers that will enhance your practice. 



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9. Practice makes perfect. Make sure you practice not less than 

thirty minutes a day. Use the right diaphragm for complete 

breath control. Most importantly, relax whenever you are 

playing.  

 

Recommendations 

Music can only be learnt by active participation and lack of musical 

instruments poses serious problems to the students and the teachers. 

However, it is necessary that parents invest in their children‟s skills 

by providing them with musical instruments that will aid their active 

participation in performance pedagogy. 

 

The school management should institute an open policy for students to 

spend time before-or after- school practicing; perhaps, few minutes 

during long-break period for students that are interested in 

practicing their musical instrument of becoming a proficient player. 

 

The Association of Nigerian Musicologists (ANIM) in conjunction with 

the Management and Staff of Music Departments should set up a 

systematic plan that will enable the music undergraduate students go 

for I.T training in secondary schools. This will go a long way in 

exposing them to the students‟ practical musicianship performance , 

which in turn will increase the pupils‟ desire of studying the course as 

a career in future.    

 

Conclusion 

The paper has looked at ways by which performance practice should 

be enhanced through learning basic techniques of playing clarinet 

among Junior Secondary School Students which is also an introduction 

into learning how to play the clarinet for a starter using the 

researcher‟s experience at St. Jude Private School Lagos. The study 

raised the proper methodology required for effective participation in 

students‟ performance towards their musical instruments. The 

outcome of the study shows high level of interest, rapport and active 



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115 

participation that reviews the student‟s keen interest and ability to 

participate more often in performance pedagogy.  

 

In the same vein, it is very necessary that the students get what they 

deserve in terms of learning how to play their musical instruments and 

also participate in school musical activities. Therefore, the teacher 

needs to encourage, motivate and rapport with the students to 

enhance their creativities and assure their personal life success.  

 

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