Many, if not most, of the things we work on in our practicing take a lot of time and work just to get a little better. Examples of this include relaxation, articulation, embouchure, etc. However, there are a few things that can be easily added when working on a piece that pay big-time results with just a small amount of extra work. One of these is:
Add Bold Dynamics. When working on a piece of music, add dynamics and phrasing at the same time as notes and rhythms.
Many think to themselves, “I’ll learn the music first, and then later I’ll add dynamics.” However the problem with this is that we always play at a dynamic level, even if it’s mezzo-whatever. So when a clarinetist learns a work at mezzo-whatever, the mezzo-whatever dynamic is learned along the with notes. So, under the pressure of performance it is likely that a passage thus learned will be performed with little dynamic contrast. So, learn the dynamics and phrasing as you go, don’t wait until later!
Further, the legendary Daniel Bonade would at times teach overdoing it on phrasing and dynamics. He felt that if the dynamics were overdone in the practice room, it would be about right on the concert stage. See his 16 Phrasing Studies (his edition of the slow etudes from the Rose 32 Etudes) for examples of this: http://www.conn-selmer.com/files/2013/4073/1516/AVP72_Leblanc_16_Phrasing_Studies_Clarinet.pdf