University of North Texas College of Music Clarinet Handbook 2011-2012 music.unt.edu/clarinetTable of Contents Table of Contents. ADMINISTRATIVE, Syllabus for Applied Clarinet: Criteria for Grading. 4 Productive Practicing: Some Recommendations 6 Categories of Practice Material 7 Technique Requirements... 8 MUSIC (Warmups & Exercises) Register Slur ose ol Legato/Tuning Stuies.s0-o on : u Schmit Chromatie Studies... oe 2 Diminished Seventh Arpegeios. - 15 Diminished Seventh Arpeggios (combined) : Sone ‘Whole Tone Pattems on B and Fons - 23 Whole Tone Pattems on F and Gu. nnn 6 Seventh Chord Exercises. nnn 29 Fours. vn 33 Fourth (combined). ; 37 ‘Tritones . 39 ARTICLES Clarinet Articulation: Conceptions, Misconceptions & Solutions by James Gillespie and John Scot. 7 4 ‘Clarinet Fingering: Luck or Logic? By James Gillespie & Joh Scot a8 ‘An Outline of Clarinet Literature by Henry Glick... © 37 Major Orchestra Clarinet Audition List by Cecil Gold ces 60 Reed Information by Tom Ridenour. Sn e Quality, Not Quanity by Tom Ridenour. on 64 Tips for Tonguing by Howard Klug 66 Performance & Pedagogy, Pats II Ill &IV by Henry Gul... 68 REFERENCES Selected References on Clarinet Fingering... sence BA Selected Clarinet tudes... nnn 85 Genel Referenves on Clarinet Literature and Bibliography. 8 Sources for Recordings. 7 88 References on Performance and Pedagogy. on 88 References on History 88 Sources for Equipment, Accessories, Repairs, Music and Moats Makers. 89 Professional Association... 90 ‘Master Class” Articles from The Clarinet . conn OL Questions to Ask About Works You Are Studying. coe 9 - UL -AdministrativeUniversity of North Texas College of Music ‘Common Syllabus for Applied Clarinet (0muas, MUG, MUAM 1513, 351, 5511, 6513) ‘The elustiona prowess in appied muss toa eaten, subjective dein based on he enters ew athe tucesrowth There mast be cael weighing of oth cult and quart yur workin exch semester. ‘The nent of thi labus maybe mended he nrc a toed tothe speci ned ofthe suse Ins ese tat you nom the aspects of our pevtrmanc and preparation that compris euliton poets. The ade forthe semester wb based on he follwing eters 1b oety roars 2. sty of preprzton 1 carsiteneyot preparation Consistency of progress eget, tutes and echnical motel coveted ond mastered tude toward peroming 1 ect su ass and ote performances {Maturation ard contin pertrmance 1 teytperornance ry Bamition 3 pedoranes let ofreperare 2. Peomanceoftecniave Altre sors and concentration are expecta 1h Alene so ces. Fiys tom 1001509 00m 232 2._Atvequtes woodwind chamber museca as nrouneed ‘The final semester trae il be omer by oe leer ade freer tee unecued absences. eed absent eh ‘parol orf ins cls cfc te. mat be approvednsiance by your ppd struc students encouraged cher ote student tons Alinco essnsareopen a the mits cation a appro of atthe eae and taser -4VL Youareretparaeeralloter eqns a so nthe Carine Handbook muse ete ‘The Colege of mus comple ith he Americans wh Dai At making ressoabi szormasatns for quid students wih sais you hve an established dab 25 onesty Statement! CHEATING AND ACADENNC HONESTY ‘The UNT Code of Studer Conduct and Dacre provides ens for mconcy side, Inc caer thoes, Acer dshonerty ces chet and parm, ‘The tem cheating les, us ot ted] any nsutoed asstance nating ‘utr to amination (2h dependence onthe df eres beyond heer by the instrctor nwt apr preparg reper slg robles, or xing out ther tga of te aeutin wit permanon of mts eather sademeatrit belonging toa acy member or saftey ‘Theterm"pogaren” ines btn ined these, byparaphneardrct untaton of the puished or unpublished wort acter person witout lan clear aceamlcgement. th nde te uacknwieded eo mater prepared nate peonor Ee, rengdin the sling em papers or oter aeacemie ater. (Sore: Cob of ond ond Diino the Unverity of Hoh Tex.Productive Practicing: Some Recommendations EQUIPMENT: All clarinet students are expected to own: 1a profesional quality clarinets) and mouthpiece 2 ametronome 3a tuner (at leat by the end of the sophomore yest) 4.4 dictionary of musical terms 5a folder for carrying music or a case cover that will hold it 6a small spiral-bound notebook devoted solely othe clarinet 7. optionala good quality recording device (Sony professional model, et.) (GENERAL RECOMMENDATIONS: 2. Set aside a definite regular time(s for practicing, and dont let anything interfere with that mets). 2, Be sure you understand each week's assignment and how to practice each item assigned. 3. Work particularly on improving funda laying problems noted in lessons Progress can be made only when fundamental problems ae solved or Improved. 4. Spend more tne on mates with which you have problems, nat on what you can sendy do well pone ‘5. Continually work for accuracy and control, Speed will develop as other playing characteristics improve 6. Ifyou don't understand - ask questions! 1. Bach category of practice shoul ary over nt the oer categories Constantly look for opportunites to apply new playing techniques: fingerings, breathing, tone considertons es 8, Altemate standing and sitting. Standing often encourages better habits of breathing. 9. Check fequely in a miror (ul ng if possible) for ome breath Sabi end handinger postin en POSEN) "= 10.Buy as soon as possible all music that is assigned and TAKE CARE OF IT! ‘This music will become a par of your own libary in future yeas 11. Allow ample time each week for red preparation =(,—Categories of Practice Material (and suggested time distribution for a typical hour's practice) ‘Slow, legato exercises (5 minates) ‘Scales, arpeggios, ec. (20 minutes) Eades (20 munues) Repertoire (15 minutes) Slow, legatoftuningtone exercises (from UNT Clarinet Handbook) 1 Som ERY TRING ets caegry tela be payor ond wih nce, 2. Concentrate on ‘2 comect breathing. Challenge yourself o take deeper, fuller breaths and control the breath flow. ». comecting any faults withthe embouchure noted in lessons. ©. producing a clea, focused, even tone from register to resister, &. Incorporating new fingerings into your playing (throat tone resonance fingerings, high register, et) «. correcting any problems in handinger position noted in lessons. Since ‘these exercises are easy to memorize, practice them in font of & rmimtor and watch carefully and critically for good hand/finger position (and embouchure) {accurate intonation. The dally use ofa tuner is via. Scales, arpeggios, te. 1 Concentrate on: aang oe ala te onions ome vis gay incorporating new fingerings and finger techniques. €: sont Don ty ply any ecniel mater ase than you can 4. sang mercinme pay, ad ering reoned of metenome © iy progress. en tone quay and even ys 1, Brodes 1. Understand what the study is designed to develop: finger technique, dynamic ‘control and shading, wide interval control, aiculation, reading accidentals. 2. Use your dictionary of musical terms fo learn any unfamiliar terms. 3. Printing errors are Common in the standard etudes. The indicated metronome opting may not ete Bes oo. 4, Look for opportunities to apply new playing techniques, and constantly “e over thr nas paces and develope inte evo cg. 5. Try to make all eudes “musical” Project clear phrase endings, climaxes, a ‘wide dynamic range, rato te. IV. Repertoire (Solos, Chamber Music, Orchestral Literature, et) 1: Ifthe work Is new to You, lea someting sbout the compose, the historical setng ofthe work, theclaiget as wten fe, vali of cording, 2. To become more familiar with the whole work, and not jus the linet pa listen ta recording with a fll piano or orchestral score in hand. 3. Lear to pronounce foreign-language names and terms cortecly. You will ‘probably encounter them throughout your career, 4. As with any work (or etude) you study, know all ofthe terminology containedTechnique Requirements for Clarinet* Level 1 Major scales and arpeggios (Chromatic scale EG 3 octaves, A-lat-E-flat2 octaves Levelt Minor sales in three forms and arpeggios Major sralo in thirds Phenugh 3 sharpecind 3 Bate ‘Chromatic pattern I (Clarinet Handbook) Level tt ‘Major and minor scales (thre forms) extended with arpeggios Completed major scales in thirds CChromatie pattern Il and It Level {All major and minor scales (three forms) extended with arpeggios memorkzed Minor scales in thirds (Baermann Il minimum) Diminished seventh arpeggios Levelv Major and minor arpeggios broken forms Diminished seventh arpeggios memorized Major-minor seventh arpeggies (Clarinet Handbook) Level Vt ‘Whole tone scales and arpegsios Seventh arpeggio patterns Level VI ‘Whole tones scales and arpeggios memorized Fourths and tritones Seventh arpeggio patterns (Clarinet Handbook) memorized *alltechnique must be performed in standard articulations (Le. all slurred all articulated, 2 slurred + two articulated ete) and assigned tempos. Al technical exercises can be found in lose, Baerman, Langens,Jeanjea ec as assigned BM, BA, MM, DMA and PhD concentrations in clarinet must demonstrate a minimum proficiency through Level Vi BM, MM, and DMA must demonstrate proficiency through Level VilRegister SlursLegatol Tuning Studies “Transpose chromaticallySchmidt Chromatic Exercise feecilececeteee ihertenctltenee tenotele be po lereieSchmidt Chromatic Exercise (cont'd)Schmidt Chromatic Exercise (cont‘d)Diminished Seventh Arpeggios ale Ele, »Diminished Seventh Arpeggios (cont'd) << _est Ete, pe eet ee Z 9Diminished Seventh Arpeggios (cont'd) — ee 3 »Diminished Sevenths: combinedDiminished Sevenths: combined (cont'd) 3 : f f is te , ?Diminished Sevenths: combined (cont'd)Diminished Sevenths: combined (cont'd) sey shai ot aDiminished Sevenths: combined (cont'd)Whole Tone Patterns: on E and F sharp » aF fos DBE SSS SSS Ten ee oS = Ime SER EESWhole Tone Patterns: on E and F sharp (cont'd) > gagged telltaleWhole Tone Patterns: on E and F sharp (cont'd) 10) 12):Whole Tone Patterns: on F and G iele Flete ‘ De re ee Sipe a a = Thr aap 2 seleeeltee f Iefsiete eee. Pemetet £ fitetpepe,Whole Tone Patterns: on F and G (cont'd)Whole Tone Patterns: on F and G (cont'd)Seventh Chord ExercisesSeventh Chord Exercises (cont'd) 4 30Seventh Chord Exercises (cont'd) Be ee eee ee le 31Seventh Chord Exercises (cont‘d) encktee BS 1 eet 32Fourths 33 .Fourths (cont‘d) 10) 4 :Fourtns (cont'a) 12); 13); 14) 15); 35 ‘ourtns (conta) 16) 1) 19); 36Fourths: combined 31Fourths: compinea (cont a) 38arttones 2 = 39Tritones (cont'd) 10) 12Tritones (cont'd)ArticlesClarinet Articulation Conceptions, Misconceptions, & Solutions James Gillespie & John C. Scott University of North Texas ‘Tonal Development of Articulated Passages 1. General Principles ‘A. The emphasis with beginning students shouldbe on the development of 3 good, uniform sumed (legato) tone quality (as high in range as possible) before tonguing is stressed. There should be no sympathetic motion ofthe ja, throat or chest when slurring or tonguing. The facial “look” ofthe embouchure should have the Saupe appearance in ll registers and ariculatons. ‘The use of mior i very helpful checking for any unwanted motion. CC. The airstream is constant in all ypes of aniculation, from the most connected (slured) to the most detaced (Saccaissime). . Exercises for the Development of Tonal Uniformity ‘A. Matched (wiform) quality ona repeated not: i B. Matched quality of scal-wise =D. Matched quality inal registers: TL. Voicing - What happens? ‘A. Low register: tongues fat inthe mouth, mouth cavity is large, throat cavity is smaller, “hah syllable recommended B. High register tongue is higher, more arched, and forward: mouth cavity i ‘mallet (aken up by raised tongue) throat cavity is larger "hee" syllable recommended CC. Emphasis shouldbe placed ona relaxed, “natura” fee throughout the fll range IV. Undertones - What causes them? ‘A. Improper voicing. Try starting problem notes above the staff (for practice ‘only) with the breath (“hee”). Later add "d" fora “dee” syllable for the smack BB. Airsteam o0 slow. . Emboechre nt formed corel befor: bowing. Botom ip usualy 00 D. Reed too sft. V. Summary of the most common faults related to poor articulated tone quality ‘A. Not enough airspeed to support tongued notes, BB. Moving the embouchure, jaw chest; or too much ofthe tongue when ‘wtculting CC. Voicing not appropriate forthe register being played . Too much tongue surface against too mach reed surface. 4sClarity and Style in Articulation 1. General Principles A. All notes consist of three pars — beginning, duration, and ending; ‘the traditional terms “attack and release” seem to contradict hei definitions BB. The tone quality ofthe duration should remain constant and not vary with changes in length; a short note should have the same quality as along note C. The clarity of beginnings and endings should remain constant D. The duration ofa note is determined by the length of time that the tongue remains away tom the reed |. Good clarinet ariculaton is achieved bythe manner in which the tongue is withdrawn fom the reed, ths feng the sound 2, The higher the pitch, theless the amount of separation that is required bbeween pitches 3. The louder the pitch, the less the amount of separation that i required between pitches EE, The amount of separation isthe key to style FF. The character of beginnings (attacks) is determined primarily by the amount andior speed of air thats released, and not by the force or weigh of the tongue ‘weight 46Clarity and Style in Articulation (contd) 1. The Use of the Tongue A. Beginnings (attacks) 1. The active motion ofthe tongue isthe backward stroke; the forward sitoke serves as a preparatory motion 2. Therongue rests lightly against the reed ~ not pressing the reed, but only dampening it. Lighinss isthe most important concept in clarinet articulation tongue placement 1) tp ofthe tongue to the tip ofthe red 2) anchor tongue othe tp ofthe reed es 1) 4AH, dEEH 2)1AH, IEEH bs BB. Endings (eleases) 1. Tone is topped most frequently by stopping the Forced exhalation of 2. At faster speeds, endings and beginnings of notes occur more closely together, making the syllables ‘AH or dAH appear as tlt or dAHa C, Clavity in arculation patterns 1. To achieve a clear and even syle of articulation, play the last note of slurred group in the siye ofthe note that follows, 2, Tocliminate an uneven articulation, emphasize the Fest note of slured group DD. Tongue speed 1. The tongue mus be light and relaxed 2 Concentrate on withdrawing the tongue from the reed; blow the tongue away ”Clarinet Fingering Luck or Logic? James Gillespie & John C. Scott University of North Texas 1. Hand and finger position ‘A. Basic hand position is derived from the hands hanging atthe sides ofthe body in arelaxed postion; notice the curve ofthe fingers caused by muscle tone. , Mainiin this basic hand postion when holding the clarinet — elbows bent; rote the angle of the hands. . Specifies ofhand and finger postion T. Right hand thumb: bottom half ofthe nail shouldbe under the standard thumb rest; this varies slighly with individual hand sizes; the right thumb shouldbe perpendicular tothe clarinet 2, Right hand index Finger: should remain curved and arching over the cede ofthe lowest side key 3. Left hand: should be curved and aching over both the A and Acta keys 4. Left hand thumb: should point slightly toward the top of the clarinet at about 35 degrees I, Basie fingerings for sales and arpeggios ‘A. Primary considerations: 1. Whenever possible, continue finger motion inthe same hand 2; Without sarificing good intonation, try to move as Few Fingers as possible in connecting intervals 3. Whenever possible, incorporate the “ight hand down’ technique into all scales and arpexgios, 4, Remember that the righthand cannot be left down below open g without resulting in poor intonation 482. Without sacrificing good intonation, try to move as few fingers 3s possible in connecting intervals. 3. Whenever possible, incorporate the “right hand down” technique into all scales and arpeggios. 4. Remember thatthe right hand cannot be left down below open g ‘Without resulting in poor intonation BB. Specific scale pattems: Ex. LF Major ee L Ex.2 Beflat Major Bx 3 E-flat Major See Se L R Ex 4D Major & A Major LR === 5 Ex SE Major RL A= Ex. 6 F-sharp MajorEx 11 B-flat Major Ex 12 F-sharp MajorTI, Throat tone resonance fingerings ‘A. These fingerings can aid in 1. improving tone quality 2. stabilizing pitch 3, improving uniformity of resistance in blowing between throat tones and lower clarion register in scales and arpeggios 4. connection of registers Ex 13 Jacob, William Burd Suite, Mvt. 1V Ex 14 Swearingen, Novena TV. Trill fingerings in rapid passages ‘Note Below: While will fingerings usually do not possess the fullness of tone of standard fingerings, in rapid passages the player's concem i with ease of fingering and 31 qcsmoothness. As long as acceptable intonation is maintained, extended register fingerings (etl fingerings) can often improve the connection of slurred passages involving register changes. Stated simply, don't change registers unless the situation requires it ‘A. Theextended chalumean register: Ex Sah 322238255 Ex 16 bfave B. The extended clarion register: Ex 17 KalinnikowBainum, Symphony No. 1, Q+ 1m. ot Gafteet = Ex. 18 Shostakovich/Hunsberger, Festive Overture, 18 + 6m. elé-fat a RSKI2 Ex 19be-sharp. Clarion tril: Ex. 20 aflavo-flet Paes D. Altissimo tris: Ex. 21 Amold, Four Scotsh Dances, C+ 6m. -sharp/d-sharp 3'V. Altisimo register fingerings A, General suggestions: 1, The RH AB/ED key should almost always be used on D and all notes above. Exceptions: fast technical passages may be more manageable ‘without it, and very soft sustained Ds may tune better without it: ‘usually not needed on the A clarinet. 2. In fast technical passages, choose fingerings that use the fewest fingers (often will fingerings). In slower, sustined passages, use fingerings ‘hat are more tonally table and secure (often “long” fingerings) 3. High Bb is often misfingered. The correct fingering is: B. “Long” fingerings (also called “front” or “covered”) 1. This category of fingetings is especially iseful when slurring into the atissimo register in slow moving, wide intervals. They are equally secure for aniculated passages as well, 2. They are stable in pitch and tone, possess a wider dynamic range and Ihave a fuller tone than most “regular” fingerings. Caution: some may tune sharp below a “mf" level. 3, Because more fingers are used in these fingering, they are not recommended for fast, technical passages.Excellent for fast slurs e-eb-c. See also cadenza in Makris’ Acgean Festival Overture 35Here isa versatile fingering for high F# which has fine response and stability ~ como PA. fo Pe ee Ge ee = ‘Copland, Concerto is i re optionalAn Outline of Clarinet Literature by Prof Hey Gali, Indien Usinesity ‘Comments on the Clarinet Literature Chart 1. For carn! performer teachers, Ihave compiled ths selene lit of muri. Arbitrary labeling and pigeon haling, re necesary, and space lied: nevertheless hope Hat ial be help 2. Although mos of the beter Mteratur i ere, any such p? B. Remove the red ffom the mouhpece and flex the tip ofthe reed wo Does the lex fom sdeto sie contre your playing test? Cirle thes ares, or "hard spots” witha pencil while you are loking a thom. Is the tip ofthe red the sae thickness all the way . Thi the hard area and repeat steps 1, 2,3. un he ers are balance. IF the red is then sf clip a small amount and retest Testing for side-to-side red balance T- Alternately dead te lef and right sides of the reed an play 2. properly balanced red wll hve the sme tone, response and dey on ‘oth sides ofthe reed X. Fine Placoment ofthe Read On the Mouthpiece "A. Ifthe ees sof, move itup B. the red i hard, move lower (CI the ree pays sigh harder on oe side than the other, ithe red away fom th harder side; this has the eff of thinning the mouthpiece ral on the harder side and widening the softer side; coret placement i atived when ‘he sides pay and decay sith the same response and resonance andthe slssimo Is ntanyresponsve at soft dyramics XI. Test for High Repster Rood Balance ‘A. Play high ones with breath attacks; notice the amount of ar embouchure pressure necessary to begin he tone; determine ifthe ed shigish wo speak ‘unless ornate embouchure pressure i aed B. Ply E3 and slrto A3 1 IFAS speaks fey with fl tone the reeds good tp balance and will play the upper isime register securely 2. IFAS fils to speak, requires added embouchure pressure in speaking, oF ‘nasa narow of cond tone cole, theres mbalnce inthe final fo millimeters ofthe red tip XI, Miscellaneous ‘A Fallacy: hard eos necessary to pay the highest ones Truth wil eran mut stength i the Near of ered 1 mcesary play th high ones, good high esr response fs mostly due othe fin balance ofthe ist 3 mm ofthe red and the let and ight ere B, Fallacy: asof reed asa clear sound and quck response, while a hard red is ‘often fuzy and slow in response Trt Clarity and response ae due to proper balance inthe eed propery Tlancsa hard eed may have excelent response and ine lat while requiring very litle embouchure pressure to enter the sound 6CTT COMMENTS Quality, not quantity, is primary in developing clarinet finger technique Tom Rideour Manager, Wasduind Combany Jn my tase column, 1 shared a few ‘Soughss on eaching the dain in. ‘pure by an are from ania of ‘Wesiinds magnine dced 16. Ar these of tha column, | mentioned $becond aren the same maexting, in which carineast Agustin Daguct ced the French apron fo ‘ogues ate wll serves poise of Sen Orchesal Excerp — The cg volumes in the Intern tinal eon cover the erator wel, with fw exception: Resp for evap ‘rousion Book Keith Sten, The A of Carine Paying. 1 recommend tha il dot own thi arial 00g se he scons on beating and por, action, dovble lips nd inesprrion. Benak, The Conti's Compendine “This hs valuable material on phrasing, acct, and eed Sing Solo and Chamber Music: bleed dt, monty chon from my lt which was pblbed in The Clone Pal 1978, Vel" 6. No.l. The diner ha 2 reperble body af Ire, ba fel horge in to area 1. Comer pies for clint alone. Nowhere isi coioed a bonat that ew works mo coat quae: toner, mskiponi, and reroctae sip in thirty ond tore. Some sadets tom to waet more ofthe romsate {lea for insance, the Wilton Osborne Rhy. hi Se pect 2. Good Baroque rancipions. We need mein, wrllhonghon mempemeat by pope he oe expr {ooh Baroque spe nd cari Regarding the pees for crinet alone: the performer Should have some lta a choir of darne. Tee nothing rong in playing lof he Sin The Peso the BE ioe the Seeman Copinn ntel fe Ree sounds bce on te Bit. ik Coneh. te itor Rgds atcned Bey fs the A soph alr ad Corin ck tothe reel eur pnce eee woniced why the French Inpsuoa le weoy se Wino etic ofa Sod cn ploy Gems hak Exp or Amoco moe. Bt sch compos eins (Glapedy, snd Pre Pi). Ravel (Vor fame Hele, Pern (Cnsnroh Masle (Foso aa < texto wel Thy tendo lay sh ms he oenon pronounce Frock ingsag! Senge eit fee coms how may Fach mata nd Fem Fligog, ots we av ang: The norphercs ekere ‘ave td sophinscd ah tguie so oy command the narment bo they ao euro ete ‘et anon sodeening of ttre, ‘Suey one of our tor eting probes te eit vec enon sigmens Nov ach what cap, Tow ch? How do we blest ond op? ee 1 porto the coe ean yt cou eget hag oss eb th mph no impor the ops Keeping in mind the anda of the schol, sd ¢ sbi ofthe mde Tey to aig 2 oper et A ‘rtm er» pel sigunent gt oles dow Re ody.» poe fom Basse 9 (cass), mb Romie Wats for ecmpte This ke arent tena andthe Webs fhe aly belp sain ‘edn itera, and hold an pre pst Forth desde, 2 wo pasion might be (amjam, Pek) snd a fio 0) srcboreacr suai vertical pressure not horizontal as other ligatures ‘exclusive side shoulders *— In othe words, I aely sign just one itr: blee in airy, a fel har ceri amount of material shold be overd. The stodent shoold lawn. that to sgheread, {mise and retin ae a the heat of this busines A the fame time, at that depth of pepsin is more iportant than breath: beter two pags well prepared than five popes, immed ovr Tose ‘Tine it oot a stole Thi i te incening and frrig ft which dase oar sy. When come to und, weds fl sd hve 0 my varbl! Reed, ‘Senge, lgrore. bol anwar, nd ie ial El ol od Baws {ryt ee this in pepe: wh of ras ot eet down tom beating for Ge fate sone of igen the elie wor? Perhap we i to ores The sound tmay be al igh, bat snot wha Iwano even “Flow {that poe bold» job wth ht sound"? Alwing for the berth ener vay dos sm the o mot ends thee ae qeitir more imports than» gersow, suing foe. fT wee ring thee 1. Conistency ~ Crodely pot this means being thee with the righ noe a the gi time la anger omen, ‘ress that even on bad dnt ots plying does no ll ‘low s cin inion sid 2. Masel Tote Agi, no a abot. The bes a> pneu te Seid, ed my dilated. 3 Imonaton ~ ifthe oustanding chins ever have 4 prot this wali ‘4. Rl — Not marly good sth, which assum ca. but going beyond tr t's quay waaly Socrbe ‘ythmie wily 5 Kaowledge of Lita — Eventi ia thee dys of sini ecbel tine forthe sada wet Fartherore there 3th inthe ying "Aa ilated tomes not “bent becomes ben nly income, in the way trees othe oe nove inthe plane" Ths tone it some eet» fein of peso ‘Now the peng soacte a ot meant to downgrade the imporance of geod wound I make them peimay fr thove diets who ped endl days sercing forthe love, and sie pret mechs and pre re Tone begins with conc» ental ge wiht formed though bexig once. clagec, teacher radi aod seedings The words ‘hich Ini mow fe to cies Healaed sand ne round, mellow, reson, nd gi Bid ‘Onc the concept wel io mind, we mast cose the imate bring esd, begining wi the insramen. ‘Although ope band fdas tends to dome ox ld shitmay be doe move othe werk expe cakanen rch Moennig ad Brnnen tas tomy inert try prod tion, Is tptng bow kw lava ean assis be sere the top brads they a nt tld in alvnce Di ‘erence tend wo be more sbvusia tem of tons: Ie the Bef R13, Pain Boch 174, Snting wove oantage in the earache pins. Basel — This as considerable elit on tone, intonation ar "oden ge my chnge oe ed tine. This isan extemely import crmponent ohh sometimes overlooked There seer em mode os te ‘ake, bot Thave noc yet found ove that | pr, Mouthpice — Ie is nt neces oF sprepite ol he many good brands which ae valle. [ue the Borbck A brett, gare — Ther ita wide choice of high gol ise 1 wae the Layben. Diffaencs not aways dicerned by she ete ay il gue important he performer: fn sence ny ech me few Sowing th seth ‘Rcd — My base tent i thi: thon oho spend + modest amount of tne working on reds sound 1 we on sree, 18 Dose who spend an orate mown of tine From 1935 10 1965 I used Vandoren reds. 1965 I spent 2 sabbatical lve sedying reed making with Kalmen Oppe san, earoed much bt for varios esos er went bok {© commercial res ~ with more knowledge of how to ‘work with hem. Now, 1thiak that Mon, Olin and Van ore have poses. Mich depends o the player ond the mouthpei s + mater of experimentation wet he test combination i foond Foc background infrmaton on red Bxig. 1 recommend hat the femen read Sen's The Ar of Claier Playng, (Chapt 2; Bouae's Cain's Compe, Ch and Of ermn's Hanlok for Making ood Adpg Single Rees ‘Specialy Ch 9. Like laming to drive ter one really cay Handmade JAMES KANTER Mouthpieces Bb CLARINET Eb CLARINET BASS CLARINET CUSTOM REFACING or Catt For Information Wait JAMES KANTER 7914 Sadring Avenue ‘Canoga Park, California 91904 (213) 992-1820 neen ty doing “The aforementioned brands having dient kinds of ane sd cot, we must approach them diferent. For instance. Vandoren is being ext thinner, bat with » denser cave (Olvesunuly ba 2 thinner tip with the dick base. Moré cxinaly reqaiter more time, sding, (sd paince!) than {he other two brands. have no peje agsietclippig » red — what harm can it do to ty tt However, ser ciping. sme reeds mest te ighly sanded oreo the taper which as ‘Other pins: We mont lean play onthe 7 and oot js the "A reeds: De noe poser in 3 rem tha too live! fe gives an overly favorable impresion ofthe reed. ‘Acaally, ive aay pie» few red, x long the 0 ent doesnot develop 3 dependency. Many ofthe good com Incr eed se born, not made. Furthermore,» red which See ge rend on my meutp my Hy wal ‘So much for the equipment! Now lt wx consider the pr foxmer' oe intone production. ‘Breath Support ~The frm abdomen, sing 28 the sir compressor. Soppor must increase when plying sft tne tha the clrinet does nt regu 2 grest desl tin, bor i¢ docs require 4 cain amoune of sr preme ‘Texiog in conjunction with our physics department at Io dans Univeity, for doctoral document by Charles Ray Sith, indicates thee at pressure does derene in the bigh regi. This bas been 3 point of confaion and bone of on- teaton) for many sade, at well a teachers At» bak x: ‘ere. this Imervl Stay is most valabe This shold be practiced slowly, a diferent dynamic levels, and shouldbe transposed ico al keys and reper "Voicing — I support the theory of Voicing st described in the atic by Raymond Wheeler, NACWP! Bullen Fall 1973, Vol. 22 Nol. The lower range i bes served by the ‘o" owe, 2 in "too" (Longue high and back), while in ARKANSAS WOODWIND SUPPLY QUALITY SUPPLIES ANID ACCESSORIES FOR CLARINET AND SAXOPHONE [AT SPECIAL PRICES * aseno FOR OUR CATALOG* P.0. Box $5180, Hillcrest Station Little Rock; Arkansas 72205 the opp reser “ak (tongut low and forward is recom mended. Enbouchure — Minimam amount of lowes lip over the teeth, Equal presute around the lips. Fer biggest. fee sound, take 2s much red a posible without long con! td reioement.Idealy no change in embouchate fr the erent sepsers space. ther 2 Sight nceviein Br 65 forthe aise register. J comes forward forthe igh totes, 2 thee v2 sighly lovee: prewure onthe reed. Em oachure is fame sehen planing loud. more relaxed when s9f to equalize pach ans give i teapocaty (coal veges) ot permanent cage to double lip. This is explained in deal Keith Stin's Ar of Clarinet Paying, Chapter 1.1 ply this way mach ofthe time, 20d 1 Gnd the allowing advantages 7. Temes the tooe mellower 2 Ie compeastes for uneven teh 3. Ie help the player to sea 46 cpa the teasion where it shosld be ‘The only disadvantage, 25 many readers know: it becomes rmoch more dffel v9 perform sanding. ‘One ofour mort neglected techniques the tof the quick Ireath. Now the bane theory of breathing — throug the comers of the mouth, fom the abdomen. i well known (though many feakmen ae shillow breather). As wih 0 many problems, we notce the awkward gaps which resol fom taking too mach ime to breath, more rel in ome ce ch’ plying than in out own, The show bit withthe metronome, of coune. By using this device, we immcdiaey come swe of ony delay inthe note ou afer the beth, ‘Beenbing Problems — One may point to pasages sach 2 Beethoven Spuphony No.7, second movement, ad Braks Pree Geers No. Z hid movement, but the mast obvioes problems are io the operas of Richard Wagner, where we ae [ef to find our own commar within seemingly endless Vibrate: encourage the we of iba ia erin pages ie warms te sound, eabces bend, snd masks minor inton Sion deficiencies. Iam slightly surprised ot the amouat of esitance moog students. Perhaps thi is oe, tea pariah |y, to the ck of mode; Iam unable to demonstrate wo my saishaction, or aeyone e's. We ae tco much onthe defen sive in dhs sea, worrying about ether opinions. 1 sarmie that our dosbs sem from our beng in a ranstonal age, snd thatthe next Tone Calo: We hare been defiant read: fing thatthe caine, wih itr dilering rete, bas» buiin ‘variety of colors, we hae allowed the tits and obois to leave sar behind The amount of eedl/moutplce taken i, the embouchare pressure. the vicing, and the diaphragm pressure allow for changes in sae intensity. and brighter ot eee enn EE sie nanan, he le ees ich are pode psig lightly move air give ws he contrast so een hic ect, Take an example: Ue firs ight measures of {Gn Inflection, an overall lighnes, anda das of hyn aly are the diene between oustanding and runt Semi Tt has rly een snd that transitions are the acid et for condectr, magnified, One would think, however, that if obs can ‘rmoune these problems, then clarinetist shouldbe able ‘So ike "Chassieal — The text definitions ae the shor one, ant somewber in my sey of German. [found this Clsiim E'Perleaion (Vallndang or: Volare)” Alan, of te ‘darnet Concer and Sonatas, oly one could be comer firwrate amie, alongside the Morar Cana. the ther ‘works pale iso mediocrity and are music which only 3 (Sarno could bre ‘Romantic — If Claninm is Perfection, then Romany scm Tiny (Corman, dct rte fee {his means exaggeration of dymamis and tempo change, a5 wel ar an incensed we of rubato. A big sound is most [Bitable, so chat we draw the bg picture. The Schuman ‘Feta Pao repreeot the epitore of this aye "French — The Galic eomperament isthe mon dificult forthe seca orate to. Te sale, the tmonpheric the Inmpetous, the nonchalant are the chive quae. Yet itis ‘Garin i rather prone thi: apparel duet sym pathetic movement oth haba. much more rea Prnrkedb the Htener than by the performer Generally, iis beer to sve (delay) rch fleets at cresendoldiminaendo and scederanda/ardando. doe ‘no early the impact uted, and is mot as otceable Ae adic "Another approach which is git important i “mentally ‘breaking up te stems.” Keith Stein (Th of Clana ly Se Chaprer 14 ell this Phrase Drive, and he expan ta ‘Sead, Remus be done ina subde way but iteam make quite 2 ilerence inthe tear Stade haves tendency to accent ornaments: exploding ris and playing race notes which do po sound graceful. “Tra, there ae pstgea where maybe appropriate to ae- ‘em such oraments, but they are defintely the exeption. "The ee of wbrte wo enbanceexpresion 8 «highly Per sonal mater, but thas wot Been expcted in the American ‘ehoolto he exent of me other counties. bev at we ‘sil heat icremed ws of tis in the next generation, "Tame color ca make sgabiantcontbaton 1 Sy; ‘one can sare imagine playing Brahens Sata wih te Sound wed in the Debussy Mhapid, for example. The ‘Garnet becomes 2 ach more atractivereitalinroment ‘when areal thought is given o dhe ponies inthis are. Periods and Style Baroque — Its dial to dace mye, when we are {acing the problem of transcription quality. In my opinion, rangement should say mowdy in the upper reir the lower sounds do not fy just a the A clarinet isnot ap- proprinte. Vibraoles tone with 9 an cate Ihe low movement 0 ound dreary. Without queso, te ‘geet hore ithe woul lack of res such mundane con cerns a8 removing the saliva trom the reed are grey ‘cape to varying imerpretatonr, whatever tho may bey the fit rue that dey be performed with eooviction ‘be obvious annwer Ate higher lever ofcn the ober on with tonal projection’ this fecking "If ar Bex arne, large orchestra large auditorium, conductor docs ie 1 ‘olen the accompaniment, en I must produce this rch ‘ound "Ie sone of the greats challenge ofthis prfesion, {0 project and tobe seni athe same tie. Conclusion 1 ask the reader's forgiven for trying to diet the ‘art and sul of ical performance. Atte moment, am only quote T'S. Biot “Where i he wisdom we have lst in knowlege? “Where ithe Knowledge we have let in information Tei carcly necessary toad that allo he foregoing mk sound spontaneous inthe concert ball must not give the Fimpremion of cing donc by formula, premeditation, oF "My teacher told me to play thi way "Tn avery Pome sense one must don the myc doa. Its a combination of tind heart and talent which enables the artist reach the (tanacendenta heightsSelected References on Clarinet Fingerings Aber, Thomas & Lerstad, Terje. “Altissimo Register Fingerings for the Bass Clarinet.” The Clarinet, Vol. 9.4, 39-41. Drushler, Paul. The Alissimo Register: A Partial Approach, Rochester ‘Shall-u-mo Pub, Hadeock, Peter. Orchestral Studies for the Eb Clarinet, Cherry Hill; Roncorp Pub, “Includes excellent fingerings, especially for the Eb clarinet. Mazzeo, Rosario. The Clarinet: Excellence and Artistry. Sherman Oaks: Alfted Pub. Chapters 18 & 19 deal with Ebb fingerings, awaliary keys, and special fingering problems. Ridenour, Thomas. The Annotated Book of Clarinet Fingerings. Self-published, -One of te most thorough references on the altissimo register. Examples ‘are listed (but not illustrated) for specific passages inthe solo and chamber repertoire where fingerings are recommended. Sigel, Allen, The Twentieth Century Clarinetist. New York: Franco Columbo, Ine. Excellent presentation of alternate and altssimo fingerings with etudes to develop them. Good fingering charts for standard fingerings and mills provided. Westphal, Frederick W. Guide to Teaching Woodwinds. 4 ed, Dubaque: ‘Wim. C. Brown Publishers. Pages 88-99 present a good introduction to basic and alternate “fingerings (including altssimo) with musical examples. The fingering ‘charts are fairly comprehensive a4Baermann Bitsch Cavallini Heim Hite Jeanjean Klose Kovaes Langenus Polatschek Rose Schmit Uhl Selected Clarinet Etudes METHOD, Part I Carl Fischer ID RHYTHMICAL STUDIES Ledue 30 CAPRICES. Car Fischer, Ricordi TECHNICAL STUDIES Kendor MELODIOUS AND Southern PROGRESSIVE STUDIES, Bk 1 16 MODERN STUDIES Lede 18 STUDIES Vade-Medum ‘Complete Method for Clarinet Various HOMMAGES Ed. Darok METHOD, Part Land IH Carl Fischer alse: 12 ETUDES Marks. ADVANCED STUDIES 32 STUDIES Carl Fischer and others 4OSTUDIES Carl Fischer and others CLARINETIST'S NOTEBOOK, Vol If (ou of prin) see HandSchool of Music Ithaca College sca, NY 48 STUDIES, Book Land It SchottGeneral References on Clarinet Literature and Bibliography Beers, Thomas. Woodwind Literature Study Guide. pub by the author, Dalla, TX, 1983 Brixel, Eugen. Clarine Music Bibliography. Ea. Hinschsofe, 1976 Brymer, Jack. Clarner. London: MeDonald& Jane's, 1976 The Cambridge Companion tothe Clarinet 8 Calin Laseson ‘New York: Cambridge U, Press, 1995 Glover-Goss, Rene. Index to Vols. 1-8 of The Clarinet. Wdaho Falls, ID, 1980 Errante, F. Gerard, A Selective Clarinet Bibliography: Oneonta, NY: Swift-Dore Publ, 1973, Foster, Lewin. A Directory of Clarinet Music. Pitiseld, MA: AE. Johnson, 1940 Gee, Harry. Clarinet Solos de Concours, 1897-1980, Bloomington, IN: Indiana U. Press, 1981 Gibson, Lee. Clarinet Acoustics. Bloomington, IN: Indiana U. Press, 1994 Gilbert, Richard. The Clarintist’s Solo Repertoire. New York: Grenadilla Society, 1972 ‘also Clarinetist's Discography Il. New York: Grenadilla Society, 1975 and Clarinetst’s Discography Il Harrington Patk, NY: Richard Gilbert Productions, 1991 Gillespie, James. Solos for Unaccompanied Clarinet: An Annotated Bibliography of Published Works., Detroit Information Coordinators, 1973 Golick, Henry, “An Outline of Clarinet Literature,” The Clarinet, Vo. 6. Heim, Norman, Clarinet Literature in Outline. Hyatsville, MD: Noreat Press, 1984 Hoeprich, Eri. The Clarinet, New Haven and London: Yale Unversity Press, 2008 The inex of Clarinet Muste, Bl, Wayure Wilkin. Mayulis. Mose Regist, 1975 Kroll, Oskar. The Clarinet, New York: Tapinger Publ co., 1968 Lawson, Colin, Mozart: Clarine Concerto. New York: Cambridge U. Press, 1996 ‘lso The Early Clarinet: A Practical Guide. Cambridge V. Press, 2000 also Brahms: Clarinet Quintet. New York, Cambridge U. Pres, 1998 SuMerriman, Lyle, Woodwind Research Guide. Evanston, IL ‘The Instrumentalist Co, 1978 86 ‘Opperman, Kalmen. Repertory ofthe Clarinet. New York: Ricordi, 1960 Pino, David. The Clarinet and Clarinet Playing. New York: Seribner's, 1980 Rasmussen, Mary & Matiran, Donald. 4 Teacher's Guide ro she Literature of Woodwind Instrumente. Durham, NH: Brass & Woodwind Quarterly, 1966 Selected Wind and Percussion Materials. lowa City, 1A: University of lows; Published and updated periodically Stein, Keith. The Ar of Clarinet Playing. Evanston, IL: Summy-Bichard, 1958 Snyder, John. A Partially Annotated Bibliography of the Clarines, publ. by the author, 1976 ‘Thurston, Frederick. Clarinet Technique, Y" ed, New York: Oxford U. Press, 1977 ‘Tuthll, Bumett. Concertos for Clarinet; Sonatas for Clarinet and Piano ~ Annotated “Listing, Booklet reprinted by the MENC from Journal of Research in Music Education, Vol 20, Nos. 3 & 4 Voxman, Himie & Merriman, Lyle. Woodwind Musie Guide, Vols. 1& 2, 1982, 1984, Evanston, IL: The Instrumentalist Co Weston, Pamela, Clarinet Virtuosi ofthe Past. London: Robert Hale, 1971 also More Clarinet Vrtwosi of the Past. London: the author, 1977 also Clarinet Virtuasi of Today, Egon Publ., England, 1989 also Yesterday's Clarintists: 4 Sequel. Emerson Ea, England, 2002 Wilkins, Wayne (ed.) The Index of Clarinet Music. Magnolia, AR: Music Register, 1975 and periodic supplements 87Sources for Recordings (ee also books by Gilbert above) Bielefelder Katalog Klassik (Germany), published three times a year Diapason (France), published quarterly Gramophone Classical Caralog (England), published quarterly Opus (Schwann Record Catalogue) (U.S.A.), published monthly References on Performance and Pedagogy (See also books by Brymer, Pino, Sten, Thurston) Gingras, Michele. Clarinet Secrets, 52 Performance Strategies for the Advanced Clarinetis. Scarecrow Press, 2004 Hadcock, Peter. The Working Clarinetist. Roncorp, 1999 Heim, Norman, A Handbook for Clarinet Performance. Delevan, NY: Kendor Music, 1965 Mazzeo, Rosario. The Clarinet: Excellence & Aristry Sherman Oaks, CA: Alfted Publ, Co., 1981 Rehfelat, Phillip. New Directions for Clarinet. Berkeley, CA: Univ, of California Press, 1978 Ridenour, Thomas. The Annotated Book of Alissimo Clarinet Fingerings ‘Kenosha, WI: G. Leblane Corp also The Educator's Guide o the Clarinet. The author, 2000 ‘Stubbins, William H. The Art of Clarinetisiry. Ann Arbor, MI: Ann Arbor Publ, 1965 Willaman, Robert. The Clarinet and Clarinet Playing. New York: Cael Fischer, 1949 References on History (Performance, Development of the Clarinet, ete.) (Gee also books by Drymer, Pine, Koll, Marzev, Weston, Lawson) Baines, Anthony. Woodwind Insiruments and Their History "New York: W. W. Norton, 1963 Drushler, Paul. The Clarinet: ts Evolution, Literature and Artists, Rochester, NY: Shall-u-mo Publications Rendall, FG, The Clarinet, 3" ed., rev'd by P. Bate, New York: W. W. Norton, 1971Selected Soures for Equipment, Accessories, Repats, Musle and Mouthpiece Makers Backun Musical Serves, Lid Bel, Barels ‘won bacunmsiel colar Charles Bay Insrumens, Accesories, Moubpeces ‘wi charesbaywoodwins comaboutys ml Behn Mouthpieces Int Moutpicces wv clrnemeoutipiececom ‘Willan Brannen Repair wn tanneroedinds com! ‘Timothy Clark epai ver timearwoodiind som Ele Musie Co. Music swomelecom store ark Fobes Repair Instruments, Bal, selfs com Robert . Gilbert, RDG Instruments, acessories swt godin com 1H. Karlson Woodwinds Reps acessories ‘ni hkaresonadwinds com! Lomax Mouthpieces Mouthpieces sw lomatlase com Luyben Msi Co Music ‘wn bene com! (Orchestral Masician’s Library Orchesel parson CD nw onusciars.com Phil Maney Winds Tnsuments, Accessories and Repair sw mney winds com Penders Musi Co Music 314\So. Elm Denton, TX" 76201 342.0031 Perfecta Reed & Reed Wizard Reed gauge and gouging machine sys oezard com Home hal ro Winds, Ine. Instruments, Accesories ‘eu prawns convmerchanmanagerindex hp James Pyne Mouthpices, Bares, Ligatues ‘worn pye-arion com Pyne. Claion/Home ml ‘Tom Ridenour taints, accessories wh ridoutlarineproduts com!Rovner Products igure wa rovnerproduts. com’ Robert Sott Repair, Mouthpieces, Barrels 2930 Sunderland Ra Lansing, MI a8911 ST7H82-9098 Stanto’s Sheet Masi Music “Tap Mase Sales Ds som apm. comy ‘Van Cot Information Services, te. Books, CDs, Musi Heine Voto Moupeces Mergelveg 21 Box 2066, 1D32791 Lage, Germany 4915232 4960 (in) Scott Winker Repair N62 Meadowbrook Lane Steboygas, WL 5083 920.57 0829 ‘The Woodwind Brasswind Instruments, Accessories ve bt com! Profesional Association Allert sent ae strongly urged to become members ofthe Internationa Carine ‘Association, The student membership fe i $25, which incl subseription ‘he Clarinet, the quarry jour of he LCA, JOIN ONLINE AT: “Master Class” Articles in The Clarinet, 1994-2008 Composer _W. Author Issue (vol/# chron: Schumann Fantavestucke, Op. 73 Mitchel Lave 22/1 owsDee/ 1994) Fini Concerto Georgina Dobree 227 (Feb March 1995) Hindemith Sonate Teed Ormand 227 (My(Bune 1995) Weber Cancertna, Op. 26 Danie! Bade 2214 Guly/Aug. 1995) Brahms Tro, Op. 114 ary Gray 23/1 (Nov Dee. 1998) Weber “Romanza” fom Abe Galper 23? eb March 1996) Concerto B, Op 74 Marino Actor Clarinet Pillip Reel 251 Mayle 1996) Messiaen Abyss Birds ‘James Campbell 2314 ly/August 1996) ‘Amold Sonatina Paul Harvey 23/4 (ow Dee.1997) Lovresiol Traviata Fantasia Colin Bradbury 2472 Feb March 1997) Krommer Concerto in EB, Op. 36. Bemard Portnoy 2403 (May/Bune 1997) Lutosawski Dance Preludes ‘Elka Ladewig-Verdehr 24/4 (July/August 1997) Stanford Concert Luis Ross 25/1 WowsDes.1997) Banok Contrasts Ken Grant 2572 (Feb Dee. 1998) Debussy Premiere Rhapsodie Gregory Smith 257 (May/one 1998) Rabaod Solo de concours Guy Deplus 25/4 July/August 1998) Tower Wings Rebecca Rischin 2162 (March 1999) Fini Five Ragas Dvd Compal 2613 ne 1999) Muczynski Tine Pieces, Op. 43. Charles West 26/4 September 1999) Martin Sonatina Lawrence MeDonald 21M December 1999) Alwyn Sonata John Scot 2772 March 2000) u-Prokofiev Sonata in D Major Steven Cohen Copland Concerto Michal Webster Siera Cinco Boctos Kathleen Jones Smith Variants Willis 0. Smith Burgmuller —Duo,Op. 18 Colin Lawson Tomasi Concerto(Mov't 1) _Sefrey Lerner Stockhausen In Freundvchafi Richard Faria Weber Concerto No.1 in Ron Samuels minor, Op. 73 (Mov) Laren Dancing Solofor Caroline Harti Solo Clarinet Mercadante Concerto in Bb, Op 10! Luigi Mapstrelli Rhapsody for Clarinet Robert Riseling Pastorale Varice Eli Eban Horovitz Sonatina G Lawrie Bloom Elleby Concerto for Linda Meerick (Clarinet and Band Mozart Concerto in Major Carmine Campione (Mot I: Exposition) Rossini Introduction, Theme Kathy Pope ‘and Variations Stravinsky Thvee Peces Jie DeRoche Paul Harvey Tiree Etudes on James Rae Themes of Gershwin Amie Shaw Clarinet Concerto Tad Caleara Ran Foran Actor: rie Mandat Monologue for Clarinet (in 4) 2714 September 2000) 28/1 (December 2000) 28/2 (March 2001) 2813 (March 2001) 28/4 September 2001) 2872 (March 2002) 25/3 Jone 2002) 29/8 (September 2002) 30/1 (December 2002) 302 (March 2003) 23073 (ne 2003) 3044 (September 2005) 310 December 2003) 31/2 (March 2004) 318 une 2008) 31/4 (September 2008) 32/1 (December 2008) 32/2 (March 2005) 32/3 June 2005) 32/4 (September 2005)Boza Concerto (Mvt.1)__Joze Kotar 34/1 (December 2006) Yadcinski A Paganini for Unaccompanied Clarinet Rose Sperraza 34/3 June 2007)Questions to Ask About Works You Are Studying. (Extracted from Music in Words: A Guide to Researching and Writing Abou Music by Trevor Herbert, The Associated Board of the Royal Schools of Musi 2001, UK) ‘Who wrote the work and when and where was it fist performed? ‘Why was it writen (perhaps for particular performances, or as commission)? Is the music functional (dance or ceremonial msc, for example)? Did the composer compete the work, or was i complete by someone else? Did the composer revise the work? ‘Wasi published during the composer's lifetime? 1s the edition you ar looking tthe orginal version o alter eon? At what point in the composer’ fe and output was the piece writen? Does it relate to or contrat with other pieces writen at about the same time? How does it o the general creative output ofthe composer? ‘Ae there extra-musical factors conceming the composers life that might be reflected inthe piece? Does the title have significance? Is it just the name of agente (sonata or concerto, for instance) ori the ttle more descriptive? Is the work programmatic ist supposed to portray or evoke events and characters? How detailed are the performance instructions? Are the performance forces (ames and quantities of instruments'voices) given? Are dynamics tempi, accidentals and omamentation specified? How much discretion is given to performers? Are they expected to understand unwritten conventions such as omamentation? |What was the reception ofthe work when it was first heard? Have there been ferent attitudes to or receptions ofthe piece subsequently? iow or when does the work fit into a broad historical unten? Does it respond to ‘or reflet broad cultural or historical movements or events? How does the work fit into the development of repertoire forthe forces (instruments or voices) for wich it was writen? W