ClarinetMike’s Texas All-State Soprano Clarinet Clinic: Lecture Notes 2013-2014

ClarinetMike says...

ClarinetMike says…

ClarinetMike’s Texas All-State Soprano Clarinet Clinic: Lecture Notes 2013-2014

Below are the lecture notes I am using this fall in my All-State Clarinet Clinics in high schools, etc. Also, they are also available on my clarinetmike.com webpage in PDF HERE.

NOTE: I have used a variety of sources to help make these notes, including those mentioned in my previous blog post on Other Editions and an excellent work on Ferling by Charles-David Lehrer.

Texas All-State Soprano Clarinet Clinic
Lecture Notes 2013-2014

Dr. Michael Dean
Clarinet Performing, Teaching and Consulting
clarinetmiketexas@yahoo.com * 682-888-7639
clarinetmike.com * clarinetmike.wordpress.com

Preliminary Concerns

  1. Get quality equipment. My set up: Buffet R13, M13 Lyre/Rico Reserve XO, Vandoren V12 3.5/Rico Reserve Classic 3.5, BG Revelation and Super Revelation Ligature, metronome/tuner, silk swab, BG Pad Dryer, etc.
  2. Find a good private teacher. [Don’t just copy a recording. Learn to count!]


Core Concepts

  1. Genuine Excellence = Talent × Practice Time × Practice Quality.
  2. Power of Habit. Work on Basics (ARTC) & Scales, along with the All-State Music in a Practice Routine.
  3. Slow, Careful Practice = Speedy, Confident Performance. The Tortoise and the Hare – Be a Turtle!  Loading & Unloading, etc. – See Frank R. Wilson.
  4. Focus on what you control: Preparation & Effort. Success, John Wooden, etc.
  5. It’s Always about the MUSIC. Musical Style and Phrasing, esp. Romantic style.

General Prep Tips

  1. Practice on and perform with good reeds.
  2. Use a metronome and tuner.
  3. Record yourself – check out phone apps!
  4. Sound Projection & Dynamics.
  5. Plan and mark breathing carefully
  6. Understand music terms, notation, ornaments, etc.
  7. Create a cheat sheet. Write each etude’s scales and arpeggios in the upper corner.
  8. Clap and sing the music.
  9. Check out additional Practice Tips.

 

Etude Prep Template (See Below for Specifics)

  1. Overview on composer and musical style.
  2. Key(s) and Tempo(s).
  3. Scale and Arpeggio Cheat Sheet
  4. Technical Issues (articulation, rhythms, fingerings, etc.).
  5. Problem Passages.
  6. Sections, Phrases, and Musical Issues.
  7. Breathe Marks.
  8. Other.
  9. Suggested Listening

Further Study

  1. See Internet links above.
  2. Listen to style on youtube.com.
  3. Check out documents, videos, etc. on www.clarinetmike.com and www.clarinetmike.wordpress.com
  4. See TMEA Performance Guides.

Etude 1 Allegro, Heinze, Page 17, G Minor, Allegro, Selected Studies for Clarinet, H. Voxman, Rubank-Hal Leonard Tempo: Dotted Quarter note = 64 – 70; Play: Beginning to end Errata: None 

  1. Overview on composer and musical style. Believed to be Gustav Adolph Heinze (1821-1904) German clarinetist and composer who wrote in a romantic style.
  2. Key(s) and Tempo(s). G minor and Dotted Quarter note = 63-72. Learn in 6, perform in 2  [Accuracy over speed!]
  3. Scale and Arpeggio Cheat Sheet. G minor scale and esp. arpeggio. Chromatic scale. Arpeggios: D, Bb, C-, Eb, F,B [aka F] fully diminished 7th , F# fully diminished 7th – these fully diminished 7ths  are esp. important.
  4. Technical Issues (articulation, rhythms, fingerings, etc.).  Tonguing – Use BTE, “Betty” (Basic Tonguing Exercise); 6/8 issues; Notice the repeating eight-2 sixteenth-eight figure that starts the etude and repeats throughout; lots of rhythms repeat. Staccato = Separated, not short. Learn slow and long, perform fast and short. Copy Mendelssohn Scherzo style.
  5. Problem Passages. MM19-24 is an unusual chord sequence, MM32-39 is based on 2 fully diminished 7ths (see above). Also, style and tone are very important in this dramatic passage.
  6. Sections, Phrases, and Musical Issues. MM26-39 is a middle section with some drama, MM40 is ~recap of start; Notice dynamics, accents, etc. carefully and follow the line with phrasing.
  7. Breath Marks. While learning in 6, breathe wherever needed – NO TENSION. However, plan early in the preparation where you will breathe when you play in 2 (be mindful of this while you learn etude in 6).
  8. Other. Don’t play too fast! Notice suggested tempo. Always play with a beautiful tone!
  9. Suggested Listening: Mendelssohn’s Scherzo from Midsummer’s Night Dream

Etude 2 Ab Major, Müller, Page 31, Allegro moderato,Tempo: Quarter note 84 – 90; Play: Beginning to end
Errata: The slur in m.20 should begin on the second sixteenth note of beat one. The a tempo marking in m.31 starts on the second sixteenth note of beat two

  1. Overview on composer and musical style. Clarinetist, composer and inventor Iwan Müller (1786-1854) wrote this etude for his Method for Clarinet and Alto Clarinet, Op. 24 (written around 1826.) Early romantic style with maybe a little Rossini.
  2. Key(s) and Tempo(s).  Ab Major and Quarter Note = 84-92. Don’t go too fast = Allegro MODERATO
  3. Scale and Arpeggio Cheat Sheet.  Ab major scale and arpeggio. Very scalar.
  4. Technical Issues (articulation, rhythms, fingerings, etc.).  Tonguing Use BTE, “Betty” (Basic Tonguing Exercise); Use “Count Aloud;” Be sure to use left C (as in M2) as needed – NO Sliding of fingers. In M14 use fork key on high Eb if you can.
  5. Problem Passages. M3 and M34 work out lick on beat 2 slowly in sixteenths keeping right hand C down
  6. Sections, Phrases, and Musical Issues. Anticipate poco rit. in M31 by starting retard at end of M30. Follow line with phrasing.
  7. Breath Marks. Tricky. At tempo there are a few spots to breathe (M10 on beat 2, etc.) However, rhythm will have to be interrupted a little to breathe in a few places. NO TENSION!
  8. Other.  Don’t rush off first sixteenth in four-sixteenth patterns. Play with beautiful tone.
  9. Suggested Listening: Rossini Overtures

 

Etude 3 “The Slow Etude” G Minor, Ferling-Rose, Page 16, G Minor, Adagio (in 6) Tempo: Eighth note 84-90 Play: Beginning to end
Errata: Articulation in Ms. 32-33 should be the same as the first two measures. Ms. 30 (in cadenza) – the next to the last beat should begin with C natural, not C#.

  1. Overview on composer and musical style. Court oboist Franz Wilhelm Ferling (1796-1874) was influenced by French opera when he wrote this etude in the style of a Romance. Cyrille Rose (1830-1902) was a very important clarinet teacher at the Paris Conservatory and 1st clarinetist with the Paris opera orchestra. Rose adapted and enhanced this Ferling etude for clarinet. Romantic Style with lots of French OPERA.
  2. Key(s) and Tempo(s).  G minor and Eight Note = 84-92. I Suggest Eight Note = 80. Learn in 6 and perform in 6.
  3. Scale and Arpeggio Cheat Sheet.  G minor scale and arpeggio. Arpeggios: F# fully diminished 7th, Bb
  4. Technical Issues (articulation, rhythms, fingerings, etc.).  Phrasing. Some counting issues. High Notes. Ornaments.
  5. Problem Passages. M2 is tricky counting. MM20-21 counting and smoothness – use regular high Bb fingering (Never trust 1 and1). MM26-31 Cadenza: Turn Chromatic passage into 2 measures of 4/4 in triplets (last set is sixteenths) and notice that they form a C# fully diminished 7th with every third note. M37 counting is easier than it looks. M40 notice a break in chromatic between last 2 notes.
  6. Sections, Phrases, and Musical Issues. Romantic Phrasing. Consult other editions, esp., David Hite and Bonade.
  7. Breath Marks. Relate it to phrasing as much as possible.
  8. Other. Don’t use much, if any, rubato for an audition. Rely on dynamics and tone shading.
  9. Suggested Listening: Listen to opera, especially French opera.

About ClarinetMike

American clarinetist MICHAEL DEAN performs and teaches internationally and across the USA to consistent praise such as "world-class clarinetist and pedagogue," "consummate performer," "inspirational," "outstanding teacher," "super," "brilliant performer," and "one of the best clinicians I have ever seen." His career is headlined by appearances at Carnegie Hall, ClarinetFest, NACWPI, Eastman School of Music, and Royal Northern College of Music with recent recitals and master classes in Italy, Spain, Kansas, Iowa, Missouri, Louisiana, and Texas. In July, he will return to Vipiteno, Italy as Clarinet Artist Faculty in Residence at Orfeo Music Festival 2017. He is featured on 5 commercial CD's and on New Media, such as YouTube. He is currently preparing another new clarinet CD, Postcards from Silver Lake. He's performed with the Southwest Symphony, Nevada Symphony, Abilene Philharmonic, Southeast Chamber Players, Red Mesa Trio, and Duo 35. He performed for 11 years with the Paducah Symphony. His articles appear in journals such as Southwestern Musician, WINDPLAYER, NACWPI Journal and The Bandmasters' Review. As "ClarinetMike," he writes for his widely-read ClarinetMike Blog, clarinetmike.wordpress.com-viewed in 150 countries on 6 continents. He was recently a tenured Associate Professor of Clarinet for 11 years at Southeast Missouri State University. He returned to his native Texas in 2012 due to family concerns. He is a past president and former National Board officer of the National Association of College Wind and Percussion Instructors (NACWPI). Dr. Michael Dean studied clarinet performance at Texas Tech University, University of Colorado at Boulder, University of Texas at Austin and University of Texas at Arlington. His teachers include Robert Walzel, Phil Aaholm, Carol Jessup, Jess Youngblood, Bob Ackerman, and Pam Youngblood. His web page, clarinetmike.com, features video of his teaching and performing as well as information on his CD's and other publications. He is a BG France Performing Artist.
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3 Responses to ClarinetMike’s Texas All-State Soprano Clarinet Clinic: Lecture Notes 2013-2014

  1. Pingback: ClarinetMike’s Texas All-State Low Clarinet Clinic: Lecture Notes 2013-2014 | ClarinetMike Blog

  2. Pingback: ClarinetMike’s Texas ATSSB All-State Soprano Clarinet Clinic: Lecture Notes 2013-2014 | ClarinetMike Blog

  3. Pingback: ClarinetMike’s All-State Preparation Kit | ClarinetMike Blog

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