Klarinet Archive - Posting 000114.txt from 2005/05
From: "Margaret Thornhill" <clarinetstudio@-----.net>
Subj: [kl] Rubank Method: not all by Voxman
Date: Fri, 06 May 2005 11:39:13 -0400
>> The Rubank methods, in my opinion, go much too fast for a rank musical
Yes, for woodwind-specific reasons that are solved in part by books like
Galper's and mine, such as developing a fine legato in the chalumeau before
> If it goes too fast perhaps one should slow down and thoroughly learn each
> line. Mr. Voxman knew exactly what he was writing in the 30's. >
Fond memories aside, the Rubank books I have in my library (NEW) are still
(Beginning) Nilo Hovey and (Intermediate--1936) J.E. Skornicka and Robert
It is the advanced books that were edited by H. Voxman.
The first two books are in desperate need of revision.
Some small examples of why:
Virtually all the melodic material in the Intermediate book is in the form
of duets. The worst are by Skornicka. Others are by the violinist, Mazas
(source of many of the Rose Etudes) including one actually called "Danse
In a book with fewer than 50 pages, at least five are devoted to trills and
grace notes, the darlings of the 19th century.(Klose also puts a
disproportionate, by modern standards, emphasis on ornamentation.) How often
does a 7th grade player ever hear a "triple grace note" (read that, "turn")
let alone need to have one ready to improvise?
There are useful technical studies in a variety of keys. There is an
emphasis on developing staccato and velocity, which the player may or may
not be ready for.
If an intermediate student already has this, I let him use the scale studies
and fingering chart and cut to the chase by giving him other things like the
wonderful 60 Rambles (which sadly, are also starting to seem a little dated)
the Hite books, the Eric Simon pieces, Voxman's own duets (which are fine)
and as much melodic material of all types as he is willing to buy. A good
one that came to me recently is the Australian, Mark Walton's "66 Great
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