Texas TMEA All-State Band 2016-17 Audition Material for Soprano and Low Clarinets

ClarinetMike says, “Pursue genuine musical excellence every day! Have fun and ‘Get Into It!’”

ClarinetMike says, “Pursue genuine excellence every day! Have fun and make beautiful music’”

Today, the official audition materials for the Texas TMEA 2016-17 All-State Band Auditions were posted at TMEA.org. The materials for all band instruments (including soprano and low clarinets) are available HERE.  BELOW I have re-posted the audition information for soprano and low clarinets.

I’ve already started to break down the audition music for private lessons, all-state clinics and such. Here’s a couple of very quick practice tips to get started:

Work on tonguing every day. Check out my “Betty” post.

Practice counting in eighth notes, i.e. twice as slow, where one eighth note gets one beat, one quarter note gets two counts, etc.

Go slow and learn the rhythm correctly the first time and every time.

Dynamics, dynamics, dynamics every step of the way! Check out my ADD BOLD DYNAMICS! post.

I will post more helps on the all-state etudes on my ClarinetMike Blog in coming weeks.

Soprano Clarinets

Artistic Studies, Book 1 – From the French School, David Hite, Southern Music Company, Edition B362

Selection 1

Etude Title: 40 Studies, No. 20, Page 22
Key:
Tempo: Quarter Note = 76-84
Play from Beginning to end.
Errata: Measure 65 – Beat 3 – Change articulation to slur 2 tongue 2

TMEA Performance Guide: Care must be taken to fit the grace note and trill in measure one within the correct timeframe. Place the grace note before the beat with only one trill motion. The most important consideration is not altering the rhythm to satisfy the grace note and trill. The rhythm in measure 3 should be played as illustrated in the brackets above the measure. The musical style of a Polonaise should be observed throughout, except for the dolce legato section from measure 37 through 44. The accented eighth notes in measures 57 and 59 should be longer with more weight. Observe all of the mixed articulations throughout this etude with a light staccato for the correct style and shape of the phrase.

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Selection 2

Etude Title: 32 Etudes, No. 16, page 61
Key: Bb major
Tempo: Eighth Note = 88-100
Play from Beginning 
Errata: m. 8 – three notes before the end of the measure should be a Bb
m. 8 – four notes before the end of the measure should be C natural, not C-sharp
m. 12 – B-flats, six and seven notes from end of measure should be tied together
m. 20 – The lower neighbor note in the indicated turn should be B natural (not Bb) (revised 8/28)

TMEA Performance Guide: This beautiful etude gives many opportunities to play with extreme control, refinement, and nuance. Be sure to always take a deep, full breath so your intervals will be smooth and connected. Take time to find the best resonance fingerings for your throat tones so your tone will be consistent and even in all registers. This etude is about tonal evenness and phrasing. Be sure to make beautiful, refined playing your top priority.

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Selection 3

Etude Title: 9 Caprices, No. 9, Pages 94-95
Key:
Tempo: Quarter Note = 110-112
Play from Beginning to Measure 50 downbeat.
Errata: None

TMEA Performance Guide: This étude is challenging and rewarding to perform. when performing articulations under a slur, use the syllable “dah.” I would suggest using the syllable “Tah”or tut” for all other articulated notes that are not under a slur. In measure 6, and others similar to it, try not to pre-clip the end of the slur with the tongue, because these articulated slurs are followed by other similar slurs. When slurs are followed by quick articulated notes, such as in measures 5, 9, 31, 32, etc., it is a good idea to pre-clip the end of the slur with the tongue, to help prepare for the following staccato notes. A single note trill is fine in measures 48 and 49. The Meno Mosso tempo at 30, should be carefully followed. These articulation suggestions are meant to follow the bowing effects of the original étude , and are only suggestions. Keep a steady and even tempo, and a light tongue game stroke to maintain articulative clarity at all times. All trills should start on the written note and move to the note above in the key indicated, and because of the speed of this étude, one trill, in most cases is fine. . The

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Low Clarinets

Artistic Studies, Book 1 – From the French School, David Hite, Southern Music Company, Edition B362

Selection 1

Etude Title: 32 Etudes, No. 9, Page 55
Key: F Major
Tempo: Quarter Note = 96-112
Play from Beginning to end.
Errata:

TMEA Performance Guide:  This etude has a combination of both technical and lyrical lines. Students should aim to create contrast between these two styles by playing fast staccato passages cleanly and with separation between notes, and using good air support in lyrical sections to create smooth, connected phrases. The addition of right-hand resonance fingerings will help throat-tone notes for better pitch, better intonation, and make it easier getting into the clarion register.

The turn in m.7 happens on the upbeat of count three and includes the following notes: F, G, F, E, F. Grace notes in m.33 should be placed just before the beat.

Staccato notes should be played short and cleanly with the tip of the tongue touching the tip of the reed. Marcato notes in m. 18 should be played with a heavier tongue stroke and quick bursts of air to create short and accented notes. Articulated notes in m. 23 should be played with a legato tongue stroke using the syllable “du” and deliberate pronunciation. All articulated sixteenth notes in mm. 48-49 should be played staccato.

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Selection 2

Etude Title: 32 Etudes, No. 5, Page 51
Key:
Tempo: Quarter Note = 50-58
Play from Beginning to end.
Errata: Contra clarinets play measures 46, 47, 48 and the first beat of measure 49 down one octave, then as printed to the end.

TMEA Performance Guide: Slower etude tempos often necessitate subdividing the eighth note for the pulse and this etude is a prime example of when to utilize subdivisions. Practicing with the metronome set to the eighth-note subdivision will help with counting both the slower and faster rhythmic patterns. Solid air support is essential to creating long, lyrical phrases and will also help to even tonal differences between the different registers. Dynamic ranges should be pushed to the extremes. Students are encouraged to follow the breath marks indicated in the music. Notes written with staccatos under slur markings should be played with a legato tongue stroke, using the syllable “du.”

This etude has many different rhythmic patterns and rhythmic values. Students should be extra careful when playing and counting 32nd notes in comparison to the slower sixteenth notes (example in mm. 21-32). The long trilled section in mm. 24-25 should be trilled in 32nds with the grace notes treated as sixteenth notes. In m.5 the correct fingerings are right-hand B and left-hand C-sharp. Use right-hand C-sharp two bars later in m. 7. An alternate fingering for altissimo D in m. 44 can be played as an over-blown open G plus the octave key. For this note to respond clearly and without hesitation, the correct voicing must be utilized. The turn in m.48 should be played on the upbeat of count three.

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Selection 3

Etude Title: 32 Etudes, No. 24, Page 69
Key:
Tempo: Quarter Note = 86-104
Play from Beginning to end.
Errata: (Early editions only) In mm. 33, 34, the 3rd and 4th 16th notes are slurred like mm. 1, 2. This errata is corrected in later editions of the book.

TMEA Performance Guide: Begin practicing slowly to ensure that all accidentals and finger patterns are secure and technically clean. All tongued notes should be played separate and lightly to facilitate speed. To articulate cleanly and quickly, use to the tip of the tongue to touch the tip of the reed. Accented notes need to come out of the texture and be played with a heavier tongue stroke and quick bursts of air. Passages containing repeated pitches tongued are musically enhanced when played with slight crescendos going into the next downbeat. Dynamic markings and crescendos/decrescendos should be played in a way that creates extreme dynamic contrasts. All throat-tone notes need to be played with right-hand resonance fingerings down for better pitch, better tone, and to help get into the clarion register with ease. Try using 1+1 fingering for B-flat in m.18. For G-flats in mm. 19-20, 23-24, 30 use middle finger G-flat, not the forked fingering. When playing the altissimo E-flat in m.16 make sure to open the pin-hole key with the left index finger and to use the forked fingering.

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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One Response to Texas TMEA All-State Band 2016-17 Audition Material for Soprano and Low Clarinets

  1. Pingback: ClarinetMike’s Texas All-State Clarinet Clinic: Preparation Guide | ClarinetMike Blog

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