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

Soprano Clarinets Selection 1

Etude Title: 32 Etudes, 26
Page(s): 71
Tempo: Quarter Note = 100–120

Play from Beginning to end.

Errata:
M. 1-12 No repeat

Extend the slur in m. 25 to the downbeat sixteenth note in m. 26. This downbeat is an A-flat, not an A-natural. Begin the next slur on the 2nd sixteenth note in m. 26. The second 16th note is as marked, an A-flat.

m. 8--Remove the slur from the last two sixteenth notes of beat two

m. 9--Extend the slur to the F-natural at beginning of beat three

m. 10--Extend the slur to the E-flat at the beginning of beat three.

m. 11--Third sixteenth of beat 4 is B-flat

m. 16--The last sixteenth note of beat 4 is a C. (the ledger line is missing)

In m. 19, the first slur should begin on the high C(2nd note of the measure) and extend to the B natural on beat 3.

Performance Guide:
Strive for evenness, shape, and direction of the musical line during the mixed articulations, especially in m. 1, 2, and 4. Observe the left-hand C fingering indicated in m. 2 and other approaches from E-flat to C, such as m. 3, 10, 15, 20, and 34. Use chromatic F-sharp in measures 4, 28, 36 and subsequent chromatic measures involving the half-step from F to F-sharp.

Chromatic B-natural should be observed in m. 5 and subsequent measures involving the half-step from B to B-flat. In m. 7, 10, 13, and 29, use right-hand
B-natural for evenness and economy of motion. The grace note in m. 17 should be played before the beat. The accents should be observed to give musical drive and direction of the melodic line.

Soprano Clarinets Selection 2

Etude Title: 32 Etudes, 21
Page(s): 66
Tempo: Quarter Note = 64–74

Play from beginning to end.

Errata:
-The double sharp in the m. 15 "cadenza" applies only to the note it precedes.

-m. 24: grace note F double sharp does not carry through the measure.

Performance Guide:
This etude provides a wonderful opportunity to showcase beautiful, singing lyricism while playing in an expressive operatic style. Develop as refined of a sound possible on each note and in all dynamics and registers. Use care to find optimal resonance fingerings for throat tones that will also keep the pitch of these notes from being sharp. Take full, deep breaths throughout, and constantly support the airstream for as smooth, even, and connected phrases as possible.

Be sure to have a tempo in mind before you begin; it is wise to choose a tempo while considering faster moving passages. Double dotted quarter note and dotted quarter notes rhythms should be checked for accuracy. In m. 6 use the chromatic F-sharp fingering the first time it appears, then the middle F-sharp for the next appearance in the same measure. Consider m. 15 and 16 as cadenzas; it is appropriate to perform these measures with flexibility in tempo. The turn in m. 19 may be easier to play using the top right hand trill key to play B-natural as long as the sound is not adversely affected. Check fingerings carefully in m. 21 in order to avoid an unnecessary pinky finger slide (C-sharp on the left, B-natural on the right, B-sharp on the left and D-sharp on the right). Keep the trills in m. 22 and 24 lyrical. It is acceptable to use a single trill if necessary to maintain grace and elegance in the phrase.

While preparation with the metronome is helpful to develop a constant sense of subdivided pulse, a musically satisfying performance will profit from a sense of rubato and flexible time throughout. Follow the shapes of phrases convincingly, adding nuance where suggested by musical markings. Dynamic markings should be closely followed.

Soprano Clarinets Selection 3

Etude Title: 32 Etudes, 28
Page(s): 73
Tempo: Dotted Half Note = 56–72

Play from Beginning to end.

Errata:
None at this time.

Performance Guide:
This etude develops ease in pinky fingers and sliding. Be attentive of using constant air support. Listen to match the tone between stepwise notes and arpeggiated notes alike so the sound is seamless throughout. Provide a solid river of air throughout for notes to float upon, then follow the shapes of lines with your air.

Choose fingerings that avoid the pinky sliding except where marked. The middle line B is best fingered with the right pinky finger except in measures 13, 15, 23, and 32. Middle staff C# is best fingered on the right side whenever it is not followed by a D# as in m. 11, 13, 14, 22, 25, 29, 30, 39, 42, 43, and 55. Chromatic fingerings aid finger fluidity, especially chromatic F# in measures 6, 7, 18, 53, 56, and B-natural in measures 2 and 48.

In sliding between pinky keys, play at the tip of the pinky key, using a firm, definitive finger stroke to the subsequent key. Accents in m. 13, 14, 43, 44, and 55 serve to create rhythmic interest. Observe them carefully, using faster, denser air rather than heavier tongue stroke. The marking, “playfully”, is key to effective style. While slow, consistent practice with a metronome in a quarter note pulse helps develop rhythmic evenness. Feeling the pulse in one beat to the bar will help the etude flow lyrically.