Helpful Information for North Allegheny High School Clarinets
High School and University Audition Repertoire
Methods and Studies
Standard Study Materials
Intermediate to Advanced Level
Rose, C., 32 Studies, Fischer, International
Rose, C., 40 Studies, 2 Vols., Fischer or Vol. 1 Charles Hansen
Klose, H., Complete Method, Fischer (Published complete or in two parts)
Baerman, C., Method Part III, Fischer
Cavallini, E., 30 Caprices, Ricordi
Uhl, A., 48 Etudes, 2 Vols., Schott (Focuses on technical problems of 20th Century music)
Polatschek, V., Advanced Studies, G. Schirmer
Langenus, G., Method, Part III, Fischer
Jean-Jean, P., 18 Etudes de Perfectionment, Andrieu, Freres, Alfred
Perier, A., Studies, Leduc
Baerman, C., Complete Method, Fischer
Voxman, H., Classical Studies, Rubank
Kroepsch, F., 416 Progressive Studies, 4 Vols., Carl Fischer, International
Rose, C., 20 Studies from the Works of Rode, Cundy-Bettoney
Jean-Jean, P., 16 Etudes Modernes for Clarinet, Buffet-Crampon
Standard Methods
Langenus, Gustav, Complete Method for the Boehm Clarinet, Parts I, II, & III, Fischer
Baermann, Carl, Complete Method for Clarinet, Fischer, Parts I-III, revised by Langenus- Cundy-Bettoney
Klose, H., Celebrated Method for the Clarinet, revised and enlarged by Simon Bellison, Fischer
Lazarus, Henry, Method for Clarinet, in three parts available complete or each part singly, Fischer
Contemporary Techniques
Caravan, R., Preliminary Exercises and Etudes in Contemporary Techniques for Clarinet, Ethos Publications
Caravan, R., Polychromatic Diversions for Clarinet, Ethos Publications
Dolak, F., Contemporary Techniques for the Clarinet, Studio P/R
Druart H., Evolutions: Ten Studies for the Contemporary Clarinet, Leduc
Drushler, P., The Altissimo Register: A Partial Approach, Shall-u-mo
Farmer, G., Multiphonics and Other Contemporary Techniques, Shall-u-mo
Gold, C., Contemporary Clarinet Techniques: A Study of the Altissimo Register, Swift-Dorr
Heim, N., The Development of the Altissimo Register for Clarinet, Kendor
Kynaston, T., Circular Breathing for the Wind Performer, Studio 224
McCarty, K., Methods for New Music 2 Vols., Lariken Press
Sigel, A., The Twentieth Century Clarinetist, Belwin-Mills
Additional Study Materials
There are numerous other study materials that are very highly recommended. Consult with your private clarinet teacher or band director concerning additional study materials.
Solos
Levels 3-4
Ameller, Cantilena, Leduc
Arnell, Eight Clarinet Pieces, Hinrichsen
Arnold, Fantasie, Op. 87 (unacc.), Faber
Aubert/Waln, arr., Aria and Presto, Kjos
Bacon, Okefenokee, Rongwen
Banks, Prolougue, Night Piece and Blues, Schott
Barat/Voxman, arr., Berceuse, Rubank
Barat/Heim, arr., Piece in G Minor, Kendor
Barlow, Lyrical Piece, C. Fischer
Bassi/Voxman, arr., Lamento, Rubank
Bassi/Voxman, arr., Nocturne, Rubank
Bergson/Voxman, arr., Scene and Air, Op. 82, Rubank
Bozza, Aria, Leduc
Bozza, Idyll, Leduc
Cardew, The Lazy Faun, Boosey & Hawkes
Christmann, Solos for the Clarinet Player, G. Schirmer
Clerisse, Promenade, Leduc
Clerisse, Vielle Chanson, Leduc
Cockschott, Three Pieces, Sam Fox
Collis, Tom Sawyer Suite, Boosey & Hawkes
Coquard, Melodie and Scherzetto, Op. 68, C. Fischer
Crooke, Caprice, Simrock
Custer, Bagatelle, Belwin-Mills
Debussy, Petite Piece, Durand
Delmas, Promenade, C. Fischer
Descenclos, d’un Troubadour, Fischer
Dubois, Sonata Bréve (unacc.), Leduc
Dunhill, Phantasy Suite, Boosey & Hawkes
Ferguson, Four Short Pieces, Boosey & Hawkes
Finzi, Five Bagatelles, Boosey & Hawkes
Gabus, Sans-Souci, Lemoine
Gade, Fantasy Pieces, Hansen
Gaubert, Allegro, Leduc
Gaubert, Romance, Leduc
Gorden, Andante, Pro-Art
Guilhaud/Voxman, arr., First Concertino, Rubank
Gyring, Little Serenade, H. Elkan
Handel/Waln, arr., Concerto in G Minor, Kjos
Hess, 7 Recital Pieces, Hinrichsen
Houdy, Elegy, Leduc
Jean-Jean, Arabesques, Alfred
Jean-Jean, Second Andantino, Alfred
Kelly, Three Bagatelles, Chappell
Krenek, Suite, Rongwen
LeClair/Waln, arr., Musette and Scherzo, Kjos
Migot, Fantaisie 3, Les Editions Ouvrieres
Mozart/Voxman, arr., Adagio from “Concerto, K. 622”, Rubank
Mozart/Waln, arr., Waltz Fantasy, Kjos
Pierne/Voxman, arr., Canzonetta, Op. 19, Rubank
Pierne, Piece in G Minor, Southern
Pobjoy, Four Pieces, Schott
Pokorny, Concerto in Bb, Breitkopf and Hartel
Pokorny, Concero in Eb Major, Breikopf and Hartel
Poot, Arabesque, Leduc
Ralston, Three English Folk Tunes, Boosey & Hawkes
Richardson, Roundelay, Oxford
Rössler, Concerto, Eb Major, Rubank
Roussel, Aria, Leduc
Schumann, Fantasy Pieces, Op. 73, G. Schirmer
Seiber, Andantino Pastorale, Schott
Spies, Small Suite, Litolff
Stamitz, Concerto in Eb (Darmstadt), Hofmeister
Stamitz, Concerto No. 3 Eb Major, Peters
Stamitz, Concerto No. 10, Bb Major, Sikorski
Stevens, 3 Hungarian Folk Songs, Galaxy
Telemann/Wastall, arr., Sonatina No. 3, Boosey & Hawkes
Tomasi, Chant Corse, Leduc
Tomasi, Complainte du Jeune Indien, Leduc
Vanhal, Sonata, McGinnis & Marx
Vinter, Concertino, Boosey & Hawkes
Vinter, Song and Dance, Weinberger
Walker, Sonatina, G. Schirmer
Levels 5-6
Absil, Fantaisie Humoresque, Leduc
Adler, Clarinon (unacc.), Presser
Alwyn, Sonata, Boosey & Hawkes
Arnold, Sonatina, Lengnick
Avshalomoff, Sonatine, Presser
Bach/Gateau, arr., Sonata in Eb, Alfred
Barat, Fantaisie Romantique, Leduc
Bax, Sonata, Chappell
Bitsch, Bagatelle, Leduc
Bozza, Caprice Improvisation, Leduc
Brahms, Sonata No. 1, Peters
Brahms, Sonata No. 2, Peters
Busoni, Concertino, Op. 48, Breitkopf & Hartel
Cavallini/Waln, arr., Adagio and Tarantella, Kjos
Cooke, Sonata in Bb, Novello
Crusell, Concerto, F Minor, Op. 5, Sikorski
Dautremer, Récit et Impromtu, Leduc
Davis/Ayers, arr., Sonata in G Minor, Shawnee
Debussy, Premiere Rhapsodie, Durand
Dello Joio, Concertante, C. Fischer
Delmas, Fantaisie Italienne, Alfred
Driessler, Five Pieces, Bärenreiter
Dubois, Rhapodie, Leduc
Dubois, Sonatina, Leduc
Etler, Sonata No. 1, Associated
Finzi, Concerto, Boosey & Hawkes
Frackenpohl, Sonatina, G. Schirmer
Gaubert, Fantasie, Southern
Grovlez, Lamento et Tarentelle, Leduc
Habicht, Sonatina, Breitkopf & Hartel
Heiden, Sonatina, Associated
Hindemith, Concerto, Schott
Hindemith, Sonata, Schott
Hopkins, Fantasy, Chester
Horovitz, Two Majorcan Pieces, Belwin-Mills
Ireland, Fantasy-Sonata, Boosey & Hawkes
Jacob, Sonatina, Novello
Kramer/Krommer, arr., Concerto in Eb Major, Op. 36, Boosey & Hawkes
Krenek, Monologue (unacc.), Rongwen
Lefebvre, Fantaisie Caprice, Op. 119, C. Fischer
Lutyens, Five Little Pieces, Schott
Martinu, Sonatina, Leduc
Marty, First Fantaisie, Southern
Mazellier/Waln, arr., Fantasy-Ballet, Kjos
Messager, Solo de Concours, Leduc
Milhaud, Duo Concertante, Heugel
Milhaud, Sonata (1927), Durand
Molter, Concerto No. 3, Schott
Osborne, Rhapsody (unacc.), Peters
Pierne, Andante con Eleganza, Billaudot
Piston, Concerto, Associated
Poot, Sonatine, Leduc
Poulenc, Sonata (1962), Chester
Rabaud, Solo de Concours, Op. 10, Southern
Ranish/Ayers, arr., Sonata in F Minor, Shawnee
Rheinberger, Sonata, Schott
Riotte, Concerto in Bb, Sikorski
Rosza, Sonatine, Op. 27, Rongwen
Rueff, Concertino, Leduc
Saint-Saens, Sonate, Durand
Searle, Suite, Schott
Seiber, Concertino, Schott
Smith, Five Pieces (unacc.), Universal
Spohr, Concertos 1 & 2, Peters
Spohr, Concertos 3 & 4, Breitkopf & Hartel
Stamitz, Concerto, Leeds
Stevens, Suite, Peters
Stravinsky, Three Pieces (unacc.), Chester
Sutermeister, Capriccio (unacc.), Schott
Szalowski, Sonatina, Omega
Telemann/Voxman, arr., Sonata in C Minor, Rubank
Tomasi, Introduction et Danse, Leduc
von Weber, Concertino, Op. 26, C. Fischer
von Weber, Concertino No. 1, Op. 73, Breitkopf & Hartel
von Weber, Concertino No. 2, Op. 74, Lieanu
von Weber/Langenus, arr., Fantasia and Rondo, C. Fischer
White, Concertino, Ludwig
Alto and Bass Clarinet Studies
Drapkin, M., Symphonic Repertoire for the Bass Clarinet, Ron-corp.
Mimart, P., Method for Alto and Bass Clarinet, Cundy-Bettoney
Rhoads, Advanced Studies (From Weissenborn), Southern
Rhoads, Baermann for Alto/Bass Clarinet, Southern
Rhoads, Eighteen Selected Studies, Southern
Rhoads, Etudes for Technical Facility, Southern
Rhoads, Thirty-Five Technical Studies, Southern
Rhoads, Twenty-Four Foundation Studies, Southern
Saunders-Siennicki, Understanding the Low Clarinets, Shawnee Press
Weber-Lowry, Student Instrumentsl Course, 3 Vols. Belwin
Voxman, H., Introducing the Alto or Bass Clarinet, Rubank
Selecting a Step-Up Clarinet
Selecting any step-up instrument should be a personal and hands-on process. The same instrument will feel and play differently for musicians. Try a number of instruments out before you purchase one. Often instrument makers will allow you to order instruments on consignment so that you can try them out before you buy. I know a lot of musicians that actually go to the factory to try out and purchase their instruments. Below is a guide to buying intermediate and professional model instruments, it is in no way a complete list and only a few recommendations to get you started.
Intermediate Clarinets
Buffet E-11
Buffet E-12
Yamaha YCL450
Leblanc Noblet
Selmer CL211
Professional Clarinets
Buffet R-13
Buffet R-13 Greenline
Buffet R-13 Vintage
Selmer Paris Recital
Selmer Paris Signature
LeBlanc Concerto II
Yamaha YCL650
Yamaha YCL CSG
Selecting a Mouthpiece
The mouthpiece, reed, and embouchure help to shape the tone and intonation of the clarinet, however of these three elements, the mouthpiece is the only constant. Reeds become worn and need to be replaced and individual embouchures vary from player to player, for this reason a mouthpiece must be selected carefully so that the player can produce the desired tone and perform with superior intonation. Although there are many mouthpieces in production and selecting a mouthpiece is a personal choice, there are a few objective criteria that define a quality clarinet mouthpiece. A quality mouthpiece will:
1. Produce a superior tone
2. Play in tune at all registers
3. Allow the easy production of all types of articulations
4. Play at a wide dynamic range keeping the tone quality constant
5. Not require too much or too little mouthpiece in the mouth
6. Not be too demanding on the reeds
Recommended Mouthpieces & Ligatures
It is VERY important to remember that mouthpieces and ligatures are very personal choices and the student should try a variety of mouthpieces and ligatures out before purchasing one. Most clarinetist find that playing on a mouthpiece with a medium facing and a medium tip opening give them the most control and flexibility in their playing. A majority of the quality mouthpieces are made out of machined rod-rubber, although few players rarely prefer crystal glass. Most often inferior mouthpieces are made of poor grade rubber or molded plastic, although with today’s production methods, it is possible to produce a higher quality plastic mouthpiece, the only way to be sure what you need is to try out a variety of mouthpiece sizes and brands.
Vandoren M13
Vandoren B44
Vandoren B45
Vandoren B40-13
Selmer HS
Combs 3
Marcellus M08
Woodwind G8
Recommended Ligatures Brands
Vandoren
Bonde
Bay
BG
Rovner
Gigliotti
Rico Royal
Mitchell Lurie
Reeds
As with mouthpieces, reeds are a very personal thing. Reeds are manufactured in varying degrees of strength. Reeds are numbered in strength 1-5 with 1 being the softest and 5 being the hardest. Some brands will use the terms: soft, medium-soft, medium, medium-hard, and hard. A problem exists in that different manufacturers use different numbering systems so company #1’s number 3 reed will be different from another brands number 3 reed. There are, however, certain criteria that a good reed will have.
A good reed will:
1. Respond freely and easily over the entire range of the instrument
2. Play all octaves of the instrument relatively in tune without major adjustments in embouchure and/or lip pressure
3. Exhibit control in all dynamic ranges of the instrument
4. Produce the correct resistance to breath pressure
5. Allow the complete scope of articulations
It is recommended that clarinet players always have three or more reeds ready to go and broken in. It is not recommended that clarinetists play on one reed until it wears out and then switch to a new one. When a player only uses one reed, the reed deteriorates and the embouchure will slightly adjust to the weakening reed, which in turn will make a more difficult embouchure adjustment when a new reed is finally used.
Recommended Reed Brands
Rico
Rico Royal
Van Doren
Mitchell Lurie
LaVoz
The Clarinet Family
Eb Soprano Clarinet
Bb Soprano Clarinet
Eb Alto Clarinet
Bb Bass Clarinet
EEb Contra-Alto Clarinet
BBb Contra Bass Clarinet
Private Lessons and Practice Suggestions
What can my lesson be?
A chance to share your enthusiasm for the instruments and for music, and an opportunity for that enthusiasm to grow.
A chance to correct basic technical problems and to learn new and better ways to solve challenges that the instruments and music present.
A chance to learn new repertoire and to learn about repertoire yet to be studied.
A chance to be a part of a community of players on your instruments; to learn and grow with them. Many other students studying your instruments will have the same problems to work on; maybe even the same solos and etudes.
Ultimately, lessons give you the chance to increase your prospects for better music making at North Allegheny and beyond. As your performing ability improves, so does your satisfaction with music making.
Practicing – Be regular in your routine; this will help you to measure progress and pinpoint problems. You cannot “cram” for a lesson or performance; it does not work. Put in the time each and everyday. It shows when you get on stage. There is no substitute for the confident attitude and technical accomplishments arrived at through hours of practice time. Most stage fright and tension problems are a result of poor/irregular preparation. Here is a basic list of practice goals:
a. Determine your semester goals. Then determine your weekly goals.
b. Decide what you must do today (today’s goals) to realize the weekly goal. Be very specific.
c. Warm-up. This can and should consist of a wide variety of techniques and styles. Feel free to vary you warm-up from day to day.
d. Practice individual patterns or sections of the music that need the most attention.
e. Take a brief rest. Walk away from the instrument to get something to drink and to refresh your mind. This should be brief so as to not lose your focus.
f. Upon returning do a run through (or two) as if you were in a lesson, audition, recital, or professional performing situation.
g. Review problem spots from the run-through.
h. Review previous etudes or repertoire.
i. Do some sight-reading. The best way to learn to read is with another player. This can be either duets or playing the same thing together. Sight-reading alone is not nearly as beneficial.
j. Decide on tomorrow’s goals.
k. Now its all behind you; you’ve set very specific goals, worked hard to achieve them, and tested yourself with a run-through. If you’ve done this and succeeded you have something to show for it and should feel a great sense of accomplishment.
l. Think about the following quotes everyday:
o Nothing happens but unless first a dream
o Go for it! Life is not a dress rehearsal
o All gave some, but some give all. Which am I?
Duets – Find another musician to play with. You can also play solos and etudes together.
This is one of the best ways to improve sight-reading, and it’s a good time.
Listening – Find recordings of professionals that play your instrument and other Instruments. Go and hear as many live performances as you can!
Join Your Professional Association – Make an effort to purchase a membership to your applied professional association, International Clarinet Association www.clarinet.org. They will often supply you with journals, performance dates, articles, and related materials to help you in the study of your instrument.
Buying Your Own Music – You should buy and own as much music for your instrument as you can afford. Often in auditions, contests, or competitions copies are not permitted and can get you disqualified.