 The Clarinet BBoard
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Author: sonicbang
Date: 2012-06-26 22:27
I just found two etude books at the library and I have never heard of them. I was curious, so today I started to practise the first study of the 'Eight Atonal Studies' and I like it very much.
I found it to be a great material to practise contemporary music, because these studies contain a lot of effect commonly used by contemporary composers. I will try to attach a recording of the first etude.
Please don't set high expectations with the recording, this was made just a few hours after I first saw this etude.
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Author: sonicbang
Date: 2012-06-26 22:56
Sorry about the multiple posts. Some kind of error occured while adding an attachment.
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Author: sonicbang
Date: 2012-06-26 23:02
Here is the recording
http://www.mediafire.com/?9ifipdpdaldqu3b
Post Edited (2012-06-26 23:11)
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Author: kdk
Date: 2012-06-26 23:55
I've never seen these etudes, either, and they may well be very attractive pieces in their own right. But I've never really understood the point of practicing "etudes" that focus on 12-tone or atonal techniques as such. The musical issues involved in playing "modern" (i.e. later 20th and 21st century) music, to the extent that they're different from those of earlier styles, seem not so much dependent on the pitch choices themselves, but more on articulation, phrasing and melodic contour styles that may exist in both recent tonal and atonal music. There isn't really a vocabulary of pitch patterns that's analogous to the scales and chordal arpeggios of earlier and many post-modern styles. I've always wondered (it has even been argued in other threads about 18th-19th century etude collections) why study pieces are better than learning the actual repertoire that you'd want to perform.
What is it that "atonal" etudes exemplify and that can be generalized to other atonal pieces?
Karl
Post Edited (2012-06-26 23:56)
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Author: sonicbang
Date: 2012-06-27 00:06
Well as I played through the first few ones I have the impression it's a useful book and all studies are at the level of a good solo piece from technical and musical aspect as well.
To practise etudes simply keeps my mind fresh and open to new things. Maybe someone can do this by practising only repertoire pieces.
I think the point with these etudes is to practise sudden dymamic changes, large interval steps, uncommon rhythms and phrasing.
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Author: vjoet
Date: 2012-06-27 13:05
Hmmm? Why etudes? Well, I guess first off is they are an abundant source of sight reading material.
Second, they come in all levels of difficulty.
Third, they are of two types: the technical etude which presents one aspect of difficulty, repeating it (with key changes) ad nauseum; and the musical etude.
I have a huge library of etudes, not only clarinet etudes, but violin, oboe, flute and trumpet. I always have one or more etude books on my stand. Currently it is Labanchi from his method. Last week it was Baermann, Bk 5. After my technical studies, I turn to the etudes, playing each twice. It becomes the application of all aspects of fine playing.
To disparage the use of etudes is completely foreign to my understanding of what it takes to master the clarinet. They are a fine resource.
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Author: kdk
Date: 2012-06-27 23:57
I'm sorry I wasn't clear. I wasn't disparaging the use of etudes - I play them all the time for lots of different reasons. Some are even worth including in recital performances.
I was questioning the usefulness of etudes that are atonal for the sake of their atonality. What is it that you can generalize from an atonal etude to other music that you can't get from etudes that are more eclectic in their melodic organization?
Karl
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