 The Clarinet BBoard
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Author: Mark C. Princeton
Date: 2002-05-19 01:27
what's so great about the Rose etudes? Why are they essential?
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Author: Todd
Date: 2002-05-19 02:23
If you're talking about the 32 etudes, I'm presently working on them with my clarinet teacher. I'm up to #18 and #19. What I've found is that overall they are very musical with some technical challenges. Some could stand as an unaccompanied solo. I also like the fact that they go all the way up to 5 flats and 5 sharps. I don't know the history behind them or if Rose wrote them or took them from violin studies, etc., but they are as challenging as you want to make them. I personally imagine each piece as if I were standing alone on stage at Carnegie Hall, performing in front of a sold out audience.
In some ways they are a little repetitive. That is, what you learn from one etude can be carried on to another one later in the book. This is something I like because it shows I'm actually growing as a musician from working through these. It also shows my instructor that he's not talking to someone who's not listening.
The Rose etudes was something I chose to do, not my teacher. I'm glad I did. There are things you learn from going through them that you can apply to music you play whether it's solo or in ensemble. A pianist I work with has noticed a big difference in my musicianship since starting the etudes. I attribute it not only to the etudes but also the great guidance of my teacher.
I've put off learning many of the great clarinet solo pieces until later. I know that what I learn from the Rose book can be applied later to other works.
The reward you get out of going through the etudes is equivalent to the effort you decide to put into them. They can teach you a lot if you want them to.
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Author: GBK
Date: 2002-05-19 05:16
The Rose etudes contain some of the best teaching and instructional material for clarinet. They are pieces that you will play for the rest of your life during your practice sessions, and their principles extend into all aspects of clarinet literature up to about 1900. Therefore, the Rose etudes (40 and 32) have become widely accepted as providing some of the essential building blocks in clarinet fundamentals.
There are different editions. The Hite editions has corrected the errors found in previous publications, and is in a more user-friendly format.
Personally, I would be suspicious of any clarinet teacher not incorporating the Rose 32 etudes into their teaching plan for high school students.
Read the following:
http://www.jdhite.com/music/clarinet/notes-c1.htm ...GBK
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Author: David Dow Symphony NB
Date: 2002-05-19 14:35
The Rose Etudes are the 32 set which are now conisdered a standard staple in the teaching repetoire. My opinions are going to seem a little controversial to some but generally these studies or etudes are really in my opinion most unmusical and of as studies are only a tool in development. the process of teaching these pieces are not 1 to 32 as listed in the order of the book but should be approached slowly and never in a rush. Generally, I have had alot of trouble with students trying to tackle the whole book, so I really must stress a slower and refined approach. This of course means the student must have a really good embouchure and control of staccatto elements long before these books are utilized. What I have seem as of recent is a trend towards thinking these are good for development, but instead I personally feel they cast a really strong light on technical achievement at the cost of musicality. I have taught for over 15 years and have generally been reluctant to use these studies with high school students, instead I have a better feeling about the early Poltashek studies and early Opperman material because it is less hard on embouchure and is more ligically set out. Rose 32 are something of a watershed and show a great clarinet mind, but some elements of stlye are missed in the music. One thing is for sure they are also reflective of the musical taste of the time, when airs and variations were important but now this stuff is somewhat hack and virtuoisity for its own sake in my opion is a dead end without beauty of phrasing and tonal shading. Here is where these pieces require alot of thought and Etude No 1 is an example of a more operatic style of playing which requires a strongly developed sense of phrasing that some of my high school and more mature students still need work on. Also the music of these studies requires a very subtle use of rubato and phrase driving that is elusive to teach and therefore the student is better off gtacking one at a time slowly instead of working through 2 or 3 at a time. I would say Yes I do teach them, but only when the student is ready and when I feel they offer a developmental aspect the student is ready for, and if introduced too early these stuies are quite harmful for they really are advanced pieces and a player who teaches these is taking on a task indeed!
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