by David Hite
INTRODUCTION
This Clarinetist's Study Guide outlines seven levels of study. It can be used to identify a student's level of accomplishment and provides a list of publications for study and performance at each level. Although these listings constitute a thorough course of study, additional studies and repertoire should be added as directed by a clarinet instructor.
Individual progress will, of course, vary greatly, and some students may find it appropriate to work in materials from different levels simultaneously. For remedial work at more advanced levels, slower scales, interval studies and expressive melodic etudes are recommended.
It is important that students realize that careful, thoughtful daily practice is a primary requirement for effective progress. Inspired guidance from a good teacher and good ensemble experiences are vital contributing factors, but in the end the student must do the learning himself!
All music editions listed in the Study Guide are published by:
Southern Music Company, P.O. Box 329, San Antonio, TX 78292, U.S.A. Phone: 1(800) 284-5443
Revised: May 24, 1997
Study of the clarinet can begin as early as age eleven or twelve,
as soon as the second teeth are well established. Prior experience with
music basics such as notation and rhythm, and basic coordination and
concentration will, of course, greatly enhance early progress with the instrument.
Study of the recorder or piano is highly recommended.
In order to develop good initial playing habits, learning where to
put fingers, how to shape and control mouth muscles, and how to put the reed
on the mouthpiece are very important. Private lessons for individual
attention are recommended in addition to class lessons at school for ensemble
experience. These two learning environments complement each other ideally.
A minimum of thirty minutes a day should be devoted to individual practice.
In the beginning two or three fifteen minute sessions are best. (Note:
Excessive practice pushing beyond the capacity of the mouth muscles can lead
to bad habits.)
It is extremely important to invest in a good mouthpiece for the
beginner. Mouthpieces furnished with beginning instruments are not always ideal.
A poorly designed or damaged mouthpiece can defeat every effort to
play well.
Students should learn early on about proper care of their reeds, mouthpieces and instruments. The mouthpiece and reed should be cleaned, and the clarinet swabbed after every playing session before storage in the case.
There are many class and private study clarinet methods available for early study. Personal preference will vary. The class and band methods used by most schools are compatible with methods designed for private study when used simultaneously.
Theory basics Amani-Hite: Ancient Menuet
A Clarinetist's Study Guide by David Hite
Completion of the goals in level one should instill a comfortable
familiarity with the clarinet. At the same time, enthusiasm to tackle more
advanced skills with both the clarinet and musical expression should develop.
As muscle stamina develops, practice time should be increased to
forty five minutes a day. Listening to accomplished players will establish good
tonal and musical standards. During individual practice sessions, self
evaluation and correction - playing, listening, thinking, adjusting, then playing again
- will lead to small improvements each day.
Practice in the recommended study materials will impart an
understanding of scales and chords and drill finger patterns so that new music
can be performed more confidently and accurately. With the basic
theoretical background outlined below, the student should begin to study music
carefully before playing. As a result, more will be achieved during
practice periods.
Theory basics
A Clarinetist's Study Guide by David Hite
A real sense of accomplishment comes with progress through
level three. The player should become a good, competent member of the
clarinet section in the school band. An interest in ensemble music could be
developing. One hour a day practice sessions should be routine, and as a result,
the fingers should become totally comfortable in the patterns of the most
used keys. A higher level of technical advancement should allow more time
for attention to musical expression. The importance of tonal development
through effective long tone study should be emphasized.
The activities that support continued development should be cultivated.
Reeds should be carefully selected for vibrancy, response, tonal clarity
and good dynamic range. Playing on old worn out reeds should be avoided.
At least three well adjusted, broken in reeds should be maintained at all times.
Theory basics
A Clarinetist's Study Guide by David Hite
At level four, opportunities for many exciting activities begin to emerge:
auditions for solo chair positions at school, solo and ensemble
contests, scholarship auditions. Summer enrichment programs, music festivals
and regional band-orchestra chairs should be pursued.
Continuation of private study is important to effectively focus on
detailed preparations for solo appearances, contests and auditions. If
possible, a professional level instrument should be obtained to attain the best
in sound, intonation and technique. An interest in mouthpieces, better
reeds and the skill of adjusting reeds should continue to evolve.
More extensive listening habits should be developed. Following
good music radio stations, learning the classical orchestral repertoire,
learning about great composers, and identifying music periods and jazz styles
will cultivate high performance standards and ambitions.
Theory basics
A Clarinetist's Study Guide by David Hite
Arrival at level five is indicative of serious dedication to the clarinet.
In many high schools there is very little competition on this level.
However, all-city and all-state ensembles offer challenging learning experiences.
College music students on this level will find new motivation in their
capable colleagues and more mature performing groups. Soloing in recitals
and with ensembles brings special artistic self identity. College
atmospheres also provide a broader range of listening opportunities.
Career plans should be contemplated at this level to give more
specific direction to immediate goals. Consideration should be given to work
in commercial studios, service bands and educational institutions.
Professional engagements should be sought. Depending on individual interests, study
of the saxophone might be pursued at this point.
Membership in the International Clarinet Association is highly
recommended. This organization's journal
The Clarinet provides a wide variety of information which is both interesting and
beneficial to the serious clarinetist. Additionally, the
On-line Clarinet Resource (http://sneezy.mika.com/ocr/) site on the World Wide Web
should be consulted for valuable information.
Theory basics
A Clarinetist's Study Guide by David Hite
Students on level six are generally in the final years of
undergraduate work or are pursuing a Master's degree. At this juncture, commitment
to continuous refinement of artistic style and tone should be made.
Although basic skills have been well established, small refinements may be
suggested by a particular chosen artist teacher. (Practical performance problems
in orchestral repertoire are best studied with an orchestral principal
clarinetist; the problems of solo careers are best pursued with the advice of a soloist.)
On this level it is important to broaden personal tastes in music -
not only music for clarinet, but also music for other woodwinds, brass,
strings, keyboard, voice and ensembles. General music education should
encompass the study of both classical and jazz history, theory, conducting
and education.
In metropolitan areas various professional playing opportunities
can be obtained through local music contractors. The musicians' union
paper announces auditions for open positions.
Theory basics
A Clarinetist's Study Guide by David Hite
Formal study of the clarinet culminates in the arrival at this level.
Special interests such as contemporary styles, artistic study abroad or
special research are possibilities at this point.
Career objectives may have specific prerequisites. Teaching at
the college level requires graduate study. Graduate assistantships with a
modest stipend can provide experience in teaching undergraduate students
while pursuing a graduate degree tuition-free. A secondary specialty field such
as music history, theory or conducting is often useful. Many small to
medium size college teaching situations offer the opportunity to combine
self-generated sources of income such as teaching, playing, contracting and
recording.
Professional performance experience is generally required for the
top college positions. Universities that offer graduate degrees usually
require that their faculty members have doctoral degrees along with an artistic
performance background. After settling into a performing or teaching position and gaining recognition, clinician-soloist engagements may be pursued
to supplement basic employment.
The performance music listed in this level contains two masterpieces
written for the clarinet. As with other great standard repertoire staples, these works can be studied initially
in earlier levels. At this level, however, this music should be relearned
and restyled to reflect consummate artistic maturity and style.
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URL: http://www.jdhite.com/study/clarinet-p.htm
A Clarinetist's Study Guide by David HiteLEVEL 1
Technique basics
Recommended solo for LEVEL 1
LEVEL 2
Technique basics
Recommended etudes for LEVEL 2
Contents:
Contents:
Recommended solos for LEVEL 2
Diabelli-Hite: Introduction and Rondo
Paradis-Hite: Sicilienne
Rabaud-Hite: Etude
LEVEL 3
Technique basics
Recommended etudes for LEVEL 3
Contents:
Contents:
Contents:
Recommended solos for LEVEL 3
Bach-Hite: Bouree
Baermann-Hite: Adagio (Attributed to Wagner)
Corelli-Hite: Adagio and Gigue
Debussy-Hite: La Fille Au Cheveux de Lin
Debussy-Hite: Petite Piece
Mozart-Hite: Larghetto from Clarinet Quintet
LEVEL 4
Technique basics
Recommended etudes for LEVEL 4
Contents:
Contents:
Recommended solos for LEVEL 4
Dere-Hite: Andante and Scherzo
Schubert-Hite: Sonatina
Tartini-Hite: Sonata in G Minor
LEVEL 5
Technique basics
Recommended etudes for LEVEL 5
Contents:
Contents:
Recommended solos for LEVEL 5
Cavallini-Hite: Adagio and Tarantella
Schubert-Hite: Sonatina
Weber-Hite: Concertino
LEVEL 6
Technique basics
Recommended etudes for LEVEL 6
Contents:
Contents:
Recommended solo for LEVEL 6
Rossini-Hite: Introduction, Theme and Variations
LEVEL 7
Recommended solos for LEVEL 7
Crusell-Hite: Concerto No. 3 in Bb Major, Opus 11
Debussy-Hite: Premiere Rhapsodie
A CLARINETIST'S STUDY GUIDE by David Hite, VERSION FOR PRINTING
All contents copyright © David Hite, Inc. All rights reserved.
Revised: May 24, 1997
URL: http://www.jdhite.com/study/clarinet-p.htm