ClarinetMike’s Texas TMEA All-State Clarinet Clinic 2019-2020
Soprano Clarinet Preparation Tips: Etude No. 3 “Polka!”
Dr. Michael Dean “ClarinetMike”
“Building Great Clarinetists”
Clarinet Performing, Teaching and Consulting
Hurst, Texas, USA * 682-888-7639
clarinetmike.com * firstname.lastname@example.org
Etude Book: David Hite editor, Artistic Studies, Book 1 – From the French School [Rose Etudes] Published by Southern Music Co.
Note: Cyrille Rose (1830-1902) was a very important clarinet teacher at the Paris Conservatory and 1st clarinetist with the Paris Opera orchestra for 34 years. Rose did not compose these etudes, but he adapted and enhanced etudes written for other instruments. He “clarinetized” them.
Etude 3 Allegro, Page 52. Etude Title: 32 Etudes, 6. Quarter note = 92-112. Play from Beginning to end (no repeats). Errata: check carefully here.
Composer and Style: This Rose etude is based on an etude by court oboist Franz Wilhelm Ferling (1796-1874) – to view the original etude, click HERE and go to Etude #2. Ferling wrote this etude in the style of a Polka (cite). The polka started about 1830 in Bohemia (Czech Republic) and by the time these etudes were published in 1840, its popularity had swept across Europe. In Paris, polkas became so popular that the polka craze started being called “Polkamania.” (cite). This etude is a polka – so DANCE!
Overview: This etude has 3 main issues: Even Sixteenths, Tonguing, and Arpeggios. Make sure to always practice and perform with great tone!
Phrases and Sections: Etude has 4 sections: S1 = m1-m18, S2 = m20-m31, S3 = m32-m50, S4 = m52 to end. M32 is a recap of the beginning for 3.5 measures.
Tempo: The TMEA listing is Quarter note = 92-112. The original Ferling etude is marked Moderato risoluto. So, not too fast. However, whatever the tempo, the etude must dance like a Polka, full of life and fun! In other words, MUSIC!
Musical Issues: Note dynamics carefully. Be sure to learn dynamics as you learn the rhythm and notes. Adding dynamics later does NOT work very well: ClarinetMike says, “If you learn it at Mezzo-Nothing, you’ll play it at Mezzo-Nothing.”
Technical Issues: Don’t rush off first sixteenth in four-sixteenth pattern. Keep sixteenth notes rhythmically even. As mentioned elsewhere, watch out for accidentals that carry through the bar in this etude.
Tonguing: Articulation is very important in this etude. Here’s a ClarinetMike Trick: In the slow preparation of any fast staccato type passage, DO NOT practice it slowly with the staccatos short. In other words, when you practice slowly, play the articulation with a normal or regular tongue stroke with not much, if any, separation. As you go faster over time and the passage becomes ingrained and learned, it will be easy to adjust the length of the articulation to the desired shortness. Be sure to use your ears to help you decide how short to play the notes.
Scale and Arpeggio Cheat Sheet: G major scale and arpeggio. Chromatic scale.
Arpeggios: G = G B D, D = D F# A, D7 = D F# A C, F# Fully Diminished 7th = F# A C Eb, E- = E G B, A7 = A C# E G, F# = F# A# C#, B- = B D F#, G7 = G B D F, C = C E G,
A- = A C E
Fingerings: In a number of places I use right B natural instead of left as in m1-m4. (This may be because I use right B and left C# in the D major scale.) Try it different ways and see what works for you. Do not use resonance fingerings (or right hand down) on throat tones in this etude as they’ll hamper and “muddy up” the technique.
Problem Passages: S2 (m20-m31) is tricky – consider right for some (or a lot!) of B naturals. Again, don’t rush off first sixteenth in four-sixteenth pattern.
Breathing: As marked (see errata) and as needed. Rhythm will have to be interrupted at times to breathe. NO TENSION!
Suggested Listening: Listen to Polkas! Here’s one that Ferling and/or Rose may have heard or even performed: Offenbach “Schuler” Polka.
NOTE: The picture above of the couple dancing the Polka about 1840 is in Public Domain and can be found here.