Klarinet Archive - Posting 000232.txt from 1997/06

From: Jacqueline Eastwood <eastwooj@-----.EDU>
Subj: Re: Rose Etudes
Date: Mon, 16 Jun 1997 18:29:47 -0400

On Sun, 15 Jun 1997, Craig E. Countryman wrote:

> For my All-State Audition next September I will be required to perform
> Rose Etudes 21 and 24 from his "32 Etudes for Clarinet" published by
> Carl Fisher. Is anyone familar with these etudes, and if so what
> suggestions would you give to make them more melodic, esp. dymanics to
> add, and hints on the cadenza in Etude 21.
>
> Also, a question of general interest arises in Etude 24 with four
> measures of octave jumps
>
These etudes, along with the Rose 40 etudes (in 2 volumes) are generally
considered the meat and potatoes of the advanced student's course of
study. I sure hope you like them (I certainly do!!) because you will go
back to them time and time again if you continue to study.

Perhaps others can give good suggestions for editions. I personally have
the International Music Corp. edition of all three books, edited by
Stanley Drucker, I believe. I usually found that my teacher would have
some special thing to work on in each etude, and might add editorial
suggestions of his own for some purpose.

These studies are great for musicality. If no dynamics are indicated,
mark in your own -- but be sure to have a valid reason for doing so.
Phrasing? Watch the rise and fall of the melodic line, and don't
interrupt in illogical places. Of course, this is impossible to do
without the guidance of a good teacher to listen to your interpretation
and make comments or suggestions. And it doesn't just happen overnight
either. But these etudes can be approached at different levels and for
different needs (I use them for sight-reading, primarily, right now -- not
just for notes, but for phrasing, dyanmics and overall interpretation "on
the go").

Perhaps I haven't helped much at all here, except to tell you that I think
it would be best for you to work on these with a teacher. Don't be afraid
to try new things, but be prepared to defend your interpretational
choices. As you gain experience, it will become easier.

Jacqueline Eastwood
University of Arizona/Arizona Opera Orchestra
eastwooj@-----.edu

   
     Copyright © Woodwind.Org, Inc. All Rights Reserved    Privacy Policy    Contact charette@woodwind.org