This volume serves as a lifelong daily study book which can be used to solve nearly every technical problem the clarinetist will encounter. "How to practice" routines and general advice sections are included.

This popular study book contains musical, progressive style studies. The Demnitz studies extend to four sharps and four flats in major and minor keys, using basic time signatures, rhythms and articulations.

The Barret melodies are wonderful studies for melodic phrasing. They include an accompaniment for a second clarinet to emphasize the development of rhythmic independence, intonation, and balance. This book can be used with or following the Melodious and Progressive Studies, Book 1.

Continuing work in this volume, the familiar scales should begin to flow accurately. The tonic chords, broken chords and dominant seventh chords, and the interrupted and returning scales should flow well. The four sharps and four flats keys should be routine.

Continued study in this book, completing the Nocentini studies, the Baermann studies and the Klose scales in thirds, should develop nice reading and style fluency. Efforts to stabilize a beautiful sound should be pursued carefully before approaching etudes requiring greater speed. Sensitivity to dynamics and tonal flexibility should be stressed and developed at this time.

While refining the slower Nocentini and Baermann etudes of Book 1, it is well to begin practicing these Gambaro studies for finger and tongue dexterity. The key signatures of these etudes stay within three sharps and three flats. The special studies drill the tongue, the left hand and the left thumb.

Continued use of this volume can constitute recreational playing, giving vent to imaginative phrasing style.

Practice should extend into the intervals of thirds, fourths and fifths. Work on the scales, chords, interrupted scales and returning scales in five and six sharps and flats, as well as chromatic scales and diminished chords should be in progress.

Continuing study should encompass all the Gambaro and the Dont etudes. Both are excellent preparation for the Rose studies. The Dont etudes develop dexterity in larger intervals requiring not only finger coordination, but also eye and ear coordination for tonal consistency. The additional etudes can be used for special problems: staccato, left hand finger coordination and register change. Six Lazarus etudes provide challenges in chromatics, advance legato, the cadenza and pushing rapid finger speeds.

Depending on the student's capabilities, study of these etudes can begin on this level. The etudes should be learned thoroughly so that they can be performed to perfection.

Study of these three movement Barret Sonatas focuses on refinement of musicianship, accuracy of reading and stability of performance. Intermediate in difficulty, they can supplement the Melodious and Progressive Studies, Book 2, and are also appropriate for concert performance. The Alard studies provide a solid review of technique and articulation.

These exercises should be practiced for total reflexive familiarity with all diatonic patterns of scales, chords and intervals. Whole tone scales and augmented chords should be added, then diminished scales and studies on octaves, staccato and trills and triplets.

The remainder of the Rose etudes should be completed on this level. They should then be reviewed from time to time to develop a routine performance and to become settled with a mature style. The sixteen slow expressive studies of the 32 Etudes (the "bible of clarinet playing) should be thoroughly analyzed, digested and played.

The Baermann Part IV is excellent to develop more fluid dexterity. These studies are related to the use of each key on the instrument. They should flow along rapidly, providing a review of basic technic.

These studies may now be used as a daily warm-up or as a test for new reeds. Use them for maintaining the sharpness of basic technique. They can be employed in making small embouchure changes or developing flexibility or endurance. These Baermann studies are an excellent place to learn to use a diaphragm pulse to enhance sound, mobility over large intervals and legato flow at all dynamics.

The Baermann, part V, provides a formidable challenge, appropriate for this level of study. It extends the playing range on above high G to high B. This edition lists special high note and trill fingerings. The advanced fluency that comes from practicing these studies supports security in all repertoire performance.

These operatically inspired studies can be used simultaneously with Book 2, preceding it, or following it, according to choice. While the Baermann promotes advanced fluency, the Cavallini will develop emotional charge in the student's performance. A major objective in approaching these studies should be liberation from carefulness and blandness which may linger in musical style.