Book Title: Artistic Studies, Book 1 - From the French School
Editor: David Hite
Publisher: Southern Music Company
Edition: B362

Low Clarinets Selection 1

Etude Title: 32 Etudes, 6
Page(s): 52
Tempo: Quarter note 88–100

Play from Beginning to End.

Errata:
m. 19 through m. 31-no repeat
Move the breath mark between m. 44 and 45 one measure earlier, so that it falls between m. 43 and 44
The articulated sixteenth notes in measures 30, 33, and 34 should have staccatos marked on them, so that they match all other articulated sixteenth notes.

Performance Guide:
This etude poses many technical challenges, but can be very fun to play. Practice very slowly at first until you have mastered the technical patterns and then gradually speed up the tempo. Use a metronome frequently to help with the evenness of rhythm. Consider using the right hand pinky keys for B and C# (and low F#) as often as possible. This should actually make playing these notes easier because it keeps the finger patterns in the same hand.

In the section from m. 20 through m. 31, avoid excessive movement in the left hand. Work to keep the left wrist and hand as still as possible and keep the fingers close to the keys. These smaller motions are ultimately easier to control. You might consider playing a crescendo from m. 24 to the downbeat of m. 30 to help the lead through the harmony in these measures.

Pay close attention to the articulation patterns from the very beginning. It is important to learn these articulations accurately because relearning an articulation can be a frustrating process. You might consider drawing attention to the ever-changing slur patterns by emphasizing the first notes of slurs. Work to play with a well-defined articulation. The staccato markings do not necessary mean to play these notes short, but doing so can create a crisp and playful style. Keep the tongue action light and close to the reed, while using a fast, steady airstream throughout. Avoid using little puffs of air to play the staccatos and instead use the stopped-tongue technique by placing the tongue back on the reed at the end of the note. Using the syllable “deet” or “teet” might help to find the right articulation. You might also consider clipping the ends of slurs to prepare for the following articulated notes.

Strive to play with personality and character in your performance. You are encouraged to enhance your performance by adding crescendos and decrescendos to create musical shape throughout the etude. It is often simplest to exaggerate the direction of the melodic line by getting louder as the notes ascend and softer as the notes descend. Remember to keep the airstream consistently fast regardless of your dynamic.

Low Clarinets Selection 2

Etude Title: 32 Etudes, 16
Page(s): 61
Tempo: Quarter Note = 50–56

Play from Beginning to End.

Errata:
m. 8: accidentals do not carry through other notes in this measure. The first two notes in beat 4 should be C-natural and B-flat
m. 12: the two B-flats under the second slur should be tied together to match the first half of the measure
m. 20: The lower note in the turn should be B-natural
m. 22: The new tempo in this measure should begin at the start of the measure and be about 6 clicks faster than your starting tempo.

Contra clarinets should strive play all notes in the octave they are written if possible. However, if necessary, contra clarinets may make the following changes:
m. 3-omit the high D and play the first 32nd note as a 16th note instead
m. 10-play one octave lower through the first note of m. 13
m. 17-play the last three notes and the first note of m. 18 one octave lower
m. 25-play the last four notes one octave lower through the end of m. 27
m. 35-play the high D one octave lower

Performance Guide:
Here are some general tips for playing this lyrical etude. This etude is in legato style, meaning “smooth and connected.” Work to connect notes so there are no gaps of silence between them and be careful with the beginnings of notes to avoid placing an accent on them. Always play with your best, most beautiful tone quality. Follow the dynamics and other expressive markings carefully. Articulate very gently and consider tapering the ends of phrases so that silence does not happen abruptly.

Use a metronome and subdivide the eight-note to ensure you are maintaining proper rhythmic integrity throughout your performance. You might consider playing the 32nd notes in m. 3 with a bit of rubato, starting slower and speeding up slightly at the end. Similarly, the grace notes in m. 8 are a short cadenza and should be free of strict time. Start rather slowly and gradually speed up as the rhythm indicates. The tempo in m. 21 should be significantly slower, perhaps even half the speed as before.

The section that begins in m. 22 is in the minor key, and provides an opportunity to create some musical drama. Play this section with bold intensity and a stormy energy. You might consider lingering on some of the faster notes slightly, to bring extra emphasis to them. The notes marked with the marcato accent in m. 27 are good candidates for this stretching, but there are many others. Be sure to maintain the original rhythm even if playing with a slight sense of rubato.

Consider playing high D and high E-flat with the overblown throat tone fingerings. Over blow the open G (or add the register key) to play high D, and over blow throat tone A-flat to play high E-flat. This works on contra clarinets as well.

Low Clarinets Selection 3

Etude Title: 32 Etudes, 17
Page(s): 62
Tempo: Quarter note 84–100

Play from Beginning to End.

Errata:
m. 14 going to m. 15: extend the slur one note further to match m. 30 going to m. 31
m. 18: the eighth notes on the upbeats should also be marked staccato
m. 20: begin the first slur one note earlier, slurring the from high G to the first note on beat 2
m. 22: the eighth notes on the upbeats should also be marked staccato
m. 29: extend the slur one note further so that it matches measure 1
m. 43: first note in beat 2 should be C#
No distinction should be made between sixteenth notes marked staccato and unmarked articulated sixteenth notes.
Contras may play down an octave beginning on beat 2 in m. 38 through the first note in m. 39

Performance Guide:
This etude poses many technical challenges, but can be very fun to play. Practice very slowly at first until you have mastered the technical patterns and then gradually speed up the tempo. Use a metronome frequently to help with the evenness of rhythm. In passages with B and C-sharp next to each other be consistent with which pinky is playing either note. Consider using the right pinky key for B if C-sharp is not present, as in m. 1.

Work to maintain proper time and rhythm during the trills and grace notes. Try to play the grace notes very quickly before the beat, being sure to place the note after the grace notes on the beat. The trills might be more expressive if the speed of the trill starts a bit slower and accelerates near the end.

Pay close attention to the articulation patterns from the very beginning. It is important to learn these articulations accurately because relearning an articulation can be a frustrating process. Work to play with a well defined articulation. The staccato markings do not necessary mean to play these notes short, but doing so can create a crisp and playful style. Keep the tongue action light and close to the reed and use a fast and steady airstream throughout. Avoid using little puffs of air to play the staccatos and instead use the stopped-tongue technique by placing the tongue back on the reed at the end of the note. Using the syllable “deet” or “teet” might help to find the right articulation. You might also consider clipping the ends of slurs to prepare for the following articulated notes.

A “polacca” (from the tempo marking) is a type of dance, so strive to play with personality and character in your performance. You are encouraged to enhance your performance by adding crescendos and decrescendos to create musical shape throughout the etude. It is often simplest to exaggerate the direction of the melodic line by getting louder as the notes ascend and softer as the notes descend. Remember to keep the airstream consistently fast regardless of your dynamic.