 The Clarinet BBoard
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Author: Aequore
Date: 2006-08-30 04:31
Hi,
Im searching for good etudes in other words an ''etude book'' to sometimes practice..I just recently purchased an etude book by Cyrille Rose called the Forty studies;: 40 etudes for clarinet - book 2, I have made some research and found that these book are trully treasured... but other than considered a relic for being so old ''1910'' is it really that good of a book??...if not can someone recommend a book??
THANKS!
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Author: GBK
Date: 2006-08-30 04:46
Although there are many not listed, this is a good guide to build up your personal music library.
The short list:
Klose - Celebrated Method (complete)
Rose - 40 Studies
Rose - 32 Etudes
Baermann III
Kell - 17 Staccato studies
Rose/Rode - 20 Grandes Etudes
Kroepsch - 416 Progressive Daily Studies - Book 1 (#1- #167)
Cavallini - 30 Caprices
Stark - Arpeggios
Arban's Complete Conservatory Method for Trumpet
The long list:
Klose - Celebrated Method (complete)
Rose 40
Rose 32
Rose-Rode 20 Grand Studies
Stark Arpeggios
Baermann III
Baermann IV
Baermann V
Cavallini 30 Caprices
Stark 24 Studies
Kell - 17 Staccato Studies
Kroepsch - 416 Progressive Daily Studies - all 4 books
Arban's Complete Conservatory Method for Trumpet
Jeanjean 18 Etudes
Jeanjean 16 Etudes Moderne
Stark 24 Grand Virtuoso Studies (two books)
Capelle 20 Grandes Etudes (two books)
Perier 20 Etudes de Virtuosite
Perier 22 Etudes Modernes
Perier 30 Etudes d'Apres Bach, Paganini
Jeanjean Etudes Progressives et Melodiques (three books)
Jettel - any
...GBK
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Author: kev182
Date: 2006-08-30 12:17
i would add one thing to that great list, Polatschek and Uhl!
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Author: larryb
Date: 2006-08-30 12:54
The Rose etudes/studies are still standard material despite their age. Not just relics.
I would also add the Labanchi "Studio Progressivo" to the list, especially now that they have not long ago been re-published and edited by David Hite (Southern Music). Challenging studies in all keys and ranges of the clarinet.
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Author: crnichols
Date: 2006-08-30 17:19
The three books of passage studies by Thurston are also very good. Something I like about these is they often take an existing piece of music, or a notorious clarinet passage from the orchestral literature, and make an exercise out of it. The second and third book in particular are helpful. The first book isn't terribly difficult. They are all written in the same fashion as the Polatschek studies. Another set of studies is the Bela Kovacs Hommages. They are actually high quality music in addition to being great etudes.
Christopher Nichols, D.M.A.
Assistant Professor of Clarinet
University of Delaware
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Author: 2E
Date: 2006-09-07 04:29
I love the Polatschek studies. The Lazarus method for clarinet isnt bad either, its very similar to the Thurston and Klose.
2E
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Author: Bob Phillips
Date: 2006-09-07 14:33
A point that often gets overlooked in the selection of etudes is the need for coaching.
In my experience, working with a great teacher, I find the need for many, many technical "tips" to accompany my work. Left to my own devices, my interpretations would be inferior, and I often choose awkward fingering options --particularly in the choice of alternative fingerings in the altissimo.
In an unwritten pact with my teacher, I spend short time (a calander week, say) on the exercises --a do it myself period. Then, I play them for my teacher --and, if needed, he'll have me go back over the work with better fingering choices. Thats a bummer when I spend a week practicing doing something stupid. But, in the end, unlearning the stupid and replacing it with the better is probably a good thing.
I teaches me responsiblity and forces me to think hard about what I'm doing when I start a new exercise.
The key point is that when I've brought the work to an acceptable standard, its on the way to being "right."
Often, too, my teacher will take time to send me off in the right direction --advising me at the exercise's introduction of some "trap" that I can avoid.
The point of all this is: it is supremely helpful to have an expert guide to your development. Don't just buy a book and blast your way through it. Get a great teacher and jointly select the next batch of work.
Bob Phillips
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Author: sonicbang
Date: 2011-01-30 12:12
I know it's an old topic but good etudes has no age either...
Délacluse: Dix-Sept Paganini Caprises
Délacluse: Grand Etudes (based on orchestral fragments)
Augostino Gabucci: 20 Etudes
Blancau: 20 Etudes
Bozza: Mechanic Studies
Magnani:Trente Caprises
Ruggeiro: Etudes for clarinet
Kolse-Kreutzer et Fiorillo: 20 Etudes
Im not sure about the original titles, but I have completed all of them and find rather useful.
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Author: John Peacock
Date: 2011-01-30 17:39
Echoing crnichols, why practice studies written by clarinettists when you can play great music and still get more than enough technical challenge? From this point of view, the Bach solo string works must be hard to beat. The violin pieces can be played as they are, and the parts are free at http://imslp.org (which also has some of the works mentioned above). The cello suites can either be practice for reading bass clef, or there is a great book of transcriptions specifically for clarinet by Giamperi that mixes violin and cello pieces. This used to be published by Ricordi.
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Author: sonicbang
Date: 2011-01-30 19:05
I must think you are a perfectly skilled clarinettist or an outstanding natural talent if you don't need these etudes and studies. Lucky you. But Im just a poor mortal who wants to improve itself.
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Author: salzo
Date: 2011-01-30 20:04
"i would add one thing to that great list, Polatschek and Uhl!"
I think that is actually two (or four, depending on how you look at it), but those are some great etudes.
I think the Bach violin sonatas/partitas, and the cello suites are great pieces ofr etude study
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Author: mihalis
Date: 2011-01-30 20:23
Sonicbang, you can be a perfectly skilled clarinetist and never use
that list of recommended studies.
If you want to learn to speak French, you dont take a course in Italian.
It depends what kind of skills you want to achive.
As John Peacock and crnichols pointed out, a difficult piece of music is
as equally perfect for study as any of the content of those books, and
that was pointed out by F.Thurston in his book "Clarinet technique".
Mike.
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Author: sonicbang
Date: 2011-01-30 20:44
'If you want to learn to speak French, you dont take a course in Italian.'
You are maybe right. To learn a concerto you have to learn other concertos...wait a bit...that sounds stupid.
'It depends what kind of skills you want to achive.'
Complex musical formulas, patterns which can be used countless times, phrasing...all in all unnescessary things. You are maybe right, it's useless.
I wouldn't say that your opinions about learning to play the clarinet is equal to Kröpsch's Jeanjean's Rose's Müller's Kell's Delacluse's Jettel's Klose's Baermann's Magnani's Stark's Perier's Gabucci's Delia's Gambaro's and countless other's opinion.
Of course they were idiots.
Oh yes, it was sarcasm.
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Author: sonicbang
Date: 2011-01-30 20:48
Thurston may not needed to play studies because he was a natural talent. I could repeat myself but I hate to do so. Just read the whole topic.
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Author: mihalis
Date: 2011-01-30 20:51
"Oh yes, it was sarcasm."
Yes, but your sarcasm is directed towards F.Thurston.
And of course he was an idiot.
Read his book. You might learn something.
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Author: EEBaum
Date: 2011-01-30 20:56
What makes the notes in etude books better than the notes in rep? Are they magical? If I were to take 3 of the Rose etudes and name them "Cyrille Rose Clarinet Sonatina #1" would they suddenly be less useful to learn? If I chopped John Adams' Gnarly Buttons up into 2-minute-long segments and call it "The Adams 12 etudes", would it suddenly become an essential technique study?
-Alex
www.mostlydifferent.com
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Author: sonicbang
Date: 2011-01-30 21:45
Mihalis, you just don't get the point. That's all. I have nothing to say to you.
'If I chopped John Adams' Gnarly Buttons up into 2-minute-long segments and call it "The Adams 12 etudes", would it suddenly become an essential technique study?'
Alex, the answer -as you probably suspect it- is NO. What's the difference? Good question. Maybe etudes were written with the intention of educating. Perhaps (If I'm not totally idiot) pieces were written to create artistic value to enjoy it.
Note: 1, I don't say that an etude can't hold artistic value.
2, I don't say a piece can't teach you how to play the
clarinet, but this is not it's purpose.
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Author: sonicbang
Date: 2011-01-30 22:02
Ok, I try to be more understandable.
1, With etudes and studies you can LEARN different techniques.
2, This techniques can be USED in pieces.
3, It doesn't hurt anyone if your techical level is ABOVE the technical difficulty level of the piece what you are playing. Perhaps it can help you to concentrate on musical parts...
4, You may agree that training to the marathon is not about to run 42 kilometers at first time. If you find this analogy too hard to understand I will be happy to help you.
Post Edited (2011-01-30 22:07)
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Author: John Peacock
Date: 2011-01-30 22:27
sonicbang: I don't at all claim that one should neglect standard etudes - but playing Bach is indisputably a great musical experience, and I think one may as well get whatever technical improvements can be obtained in that way, given limited time, and devote what's left to more clarinet-specific material. In practice, I tend to mix Bach with the Uhl etudes (plus a bit of Thurston). I can't really play any of this to my satisfaction, but it's not clear to me that spending time on yet other books of etudes would help this situation.
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Author: cigleris
Date: 2011-01-30 22:31
Etudes are useful in the bigger picture but one must know when to move from them and then play music. I believe etudes are there to help on a specific element of technique, for example whole tone scales. This etude would be extremely useful of you were about to embark on a period of playing Debussy, Ravel etc. Everyone needs etudes but one should not rely whole heartedly on them.
Peter Cigleris
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Author: EEBaum
Date: 2011-01-31 00:25
@sonicbang: Etudes aren't the only way to learn techniques. To put your 1 and 2 together, pieces can also be used to learn technique. The etude might be a bit more focused, but that's about it.
The bigger advantage I see to etudes is that you can work on a very small piece from start to finish, fully address all the challenges and issues it brings up, and have it at a performable level in a week or so. It gives you a much more compact start-to-finish experience than working through, say, a Brahms sonata, where you only spend a small portion of practice sessions shedding the fingering patterns.
It's their smallness, rather than their etudeness, that I think conveys the benefit.
-Alex
www.mostlydifferent.com
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