CLARINET MAJOR PROGRAM

 A. OVERALL OBJECTIVE

The singular focus of studying clarinet on the college level is not only to technically become more adept, but in addition, use it as a means to interpret more faithfully its repertoire.  Attaining a good command of the instrument - with its many “pitfalls”,  is the only way one can fully expect to perform even the least difficult repertoire. Technical skills vary from one individual to another but, it must be concluded that, with diligent concentration and a good working practice routine, the necessary skills to become a better player will improve.  This means that improvement over a period of time should take place, albeit perhaps slower for one than another, but a definite improved set of skills.  These  necessary skills for improvement are set down in the remainder of this syllabus.

Repertoire List: FRESHMAN YEAR   SOPHOMORE YEAR   JUNIOR YEAR

                               SENIOR YEAR

 B. SPECIFIC OBJECTIVES (Detailed information can be found on the CLARINET PAGE)

        1. PRODUCING A GOOD TONE

             a) Proper embouchure necessary to produce a good tone.

             b) Adjustments/changes in embouchure in order to correct  poor tone.

             c) Good reeds and reed adjustment

         2. PROPER BREATHING

              a) Understanding and utilizing diaphragmatic breathing.

         3. GOOD FINGER/HAND POSITION

         4. TECHNIQUE

               a) A fluid mastery of all scales and additional technical routines.

               b)  Performing the various etude collections e.g. Rose, Bärmann etc.

               c)  Demonstrate an understanding and application of the correct

                    fingerings and finger patterns on the instrument.

               d)  Demonstrate the ability to perform correctly, the myriad

                    of different rhythms found in the clarinet’s repertoire whether

                    it be solo pieces and/or etudes.

                e)  Perform on various occasions, (student recital and/or master

                    class) selected repertoire  taken from those listed for each college

                    year.  Memorization stressed, but not a requirement.

             5. MUSICIANSHIP

                    a) An understanding of dynamic levels and expression marks in etudes and solos.

                   b) Demonstrate an ability to perform various dynamic and expression 

                        marks  in etude and solo playing.            

                   c) To gain insight into expressive playing by listening to/ and

                       learning about different composers’ styles, and demonstrating

                       that understanding on a lesson to lesson basis.

              NOTE:  Good musicianship comes mostly from within, but a good

                             working ability can be acquired through listening to  the

                             works of the master composers on a regular basis.  Only

                             then can one begin to interpolate a feeling for style in

                             personal performance.

C. SUPPLEMENTAL OBJECTIVES

          1. STUDIO CLASS

                 a) This is a performance class referred to as Studio Class where individuals - on a regularly

                     scheduled basis - play solos or etudes; discussion may follow. 

                 b) Reed fixing; discussion of repertoire; listening to clarinet  works.

                 c) Discussion or solo and orchestral repertoire

                 d) Listening to recorded solo and orchestral repertoire

           This class is required of ALL clarinet majors. It is viewed toward the semester 

            grade as a dicussion group.  (TIME TBA)

           2. REED ADJUSTMENT

                  a) Acquire the proper tools to fix reeds e.g. knife, “rush”, sandpaper etc.

                  b)  Work with various procedures and fundamental steps to correct problems.

           3. TRANSPOSITION

                  a) Periodic practice of easy/moderately difficult music in “C” and “A” transpositions.

           4. ORCHESTRAL REPERTOIRE

D. GRADING POLICY

          1. LESSON QUALITY WEEK TO WEEK

                a) Two-thirds of the final grade is based on the clarinet lesson week to week

                b)  A pattern of poorly prepared lessons over the semester accrue the possibility

                     of a low grade for the course.

                c) Lessons must show  consistent progress toward technical improvement

                    and a maturing attitude to the music studied. This includes all technique (scales etc.)

                    etudes and solos.

               NOTE:  There are always extenuating circumstances of  illness, and unforeseen   

                              emergency – and these are handled on an individual basis with the

                              understanding that work missed will be made up at the earliest date. But, it

                              is the consistent work and week to week improvement  that is the major  

                             determining factor toward the semester grade. THERE ARE NO CUTS

                              IN STUDIO LESSONS.  Two-thirds of the semester grade is

                               the studio lesson.

               2. JURY

                       a) First and second semester juries consist of a prepared solo with 

               accompaniment, much like a student recital.

                        b) One-third of the semester grade is given for the jury; the

                           average of the jury members is the jury grade.

                   NOTE:  In keeping with past tradition of using qualified pianists,

                                  paid accompanists have been hired.  The expense has usually

                                  been divided equally by the players.

E. PRACTICE SCHEDULE

          I have reserved the most important comments for last.  It is of the utmost

          importance to reserve at least - and that is minimal - 2 and 1/2 hours per

          day for clarinet practice; not playing, but very concentrated “grunt work”

          practice. I feel that without that amount of work, and that amount of work

          each day, progress is severely limited and success in this major emphasis

          is not assured. Therefore I suggest you maintain this schedule religiously;

          shift it if you must, but don’t skip it. There are going to be days when this

          concept will be difficult (almost impossible) to maintain, but you must try.

          It is only through a strong commitment to your instrument and a priority

          toward serious clarinet practice everyday, that you will become a good player .

            CLARINET MAJOR PROGRAM

FRESHMAN YEAR

  TECHNIQUE:   First Semester - all major scales.  Quarter note = 72. (All scales are to be played and memorized from the  Langenus – Fingered Scale Studies).  

                             Second Semester - all major and harmonic minor scales. Quarter note  = 76.  Scales in thirds and arpeggios,  major and minor keys; legato and mixed articulation.  Quarter note = 72.   Embouchure and development of good tone are important goals at this formative stage.

                   ETUDES:           Rose - Thirty-Two Etudes

                                             Rose - 20 Grandes Etude

                                              Langenus - Clarinet Method, Book III

                                              Baermann - Clarinet Method, Part III

                     REPERTOIRE:   FIRST SEMESTER

                                              JeanJean - Arabesques

                                               JeanJean - Clair Matin

                                               Bergson - Scene and Air

                                               Pierne - Canzonetta

                                            SECOND SEMESTER

            Rabaud - Solo de Concours

                                                Stamitz - Concerto #3 in Bb major

                                                Lefebvre – Fantaisie Caprice

                       Coquard - Melodie et Scherzetto

 CLARINET MAJOR PROGRAM

SOPHOMORE YEAR

TECHNIQUE:  Continuation of the Freshman requirements but in addition,

                                            all melodic minor scales.  Quarter note = 88.

                        ETUDES:   Baermann - Clarinet Method, Part IV

                                          Cavallini - Thirty Caprices

                                          Stark - Arpeggio Studies Op. 39

                                          Kroepsch - Daily Exercises for the Clarinet

                       REPERTOIRE:  FIRST SEMESTER

  Bozza - Fantaisie Italienne

                                                  Poulenc – Sonata (Movement III)

                                                  Marty – Fantaisie

SECOND SEMESTER

        Stamitz -  Concerto #10 in Bb major

                                                        Pierné – Andante - Scherzo

                                                        Uber - First Rhapsody

                                                        Brahms – Sonata #1 in F Minor Op. 120 (Movement I)

                                                        Bozza - Claribel

 CLARINET MAJOR PROGRAM

JUNIOR YEAR

 TECHNIQUE:     As in the Sophomore year, but emphasis is placed on

                            augmented and diminished tonalities.  Scales played with

                            quarter note = 96.

 ETUDES:               Stark - Twenty-Four  Studies

                              Capelle - 20 Grandes Etudes

                               Perier - 20 Etudes de Virtuosite

                               Polatchek - Advanced Studies for Clarinet

REPERTOIRE:        FIRST SEMESTER

                                 Gaubert - Fantaisie

                                  JeanJean - Andantino

                                  JeanJean - Scherzo Brillante

                                 SECOND SEMESTER

                                    von Weber - Concerto in  f minor Op. 73 #1 (all)

                                    von Weber - Concertino Op. 26

                                    Mazellier - Fantaisie Ballet

                                     E. Copeland - Sonata for Solo Clarinet

CLARINET MAJOR PROGRAM

SENIOR YEAR

TECHNIQUE:         Continuation of the previous requirements, with the

                                emphasis on greater speed.  Scales played with quarter

                                note = 100.

ETUDES:                   JeanJean - 18 Etudes

                                  JeanJean - 16 Etudes Modern

                                  Stark - 24 Grand Virtuoso Studies

                                  Baermann - Clarinet Method, Part V

REPERTOIRE:                FIRST SEMESTER      

                                          Mozart - Concerto for Clarinet K.622

                                          von Weber - Concerto #2 in Eb major Op. 74

                                          Stravinsky - Three Pieces

                                      SECOND SEMESTER

                                          Debussy - Premiere Rhapsodie

                                          Spohr - Conocerto #1 in c minor

                                          Brahms - Sonata in Eb major Op. 120 #2

                                          Bax - Sonata

                                          Sutermeister - Capriccio

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