 The Clarinet BBoard
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Author: flclarinetist93
Date: 2016-06-14 20:57
Attachment: etude13.JPG (1300k)
Hello there clarinet enthusiasts,
First, I really enjoy the wealth of information on this board. And this is my first time posting a thread of my own. In my upcoming ensemble audition for the fall, I have to play a mysterious etude no.13 . I would like to know more on the background of this etude, and specifically what book it comes from? Any clues would be much appreciated. I have added an attachment.
Thank you.
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Author: GBK
Date: 2016-06-14 21:59
Labanchi - Progressive Method for Clarinet, Part II
Page 117
...GBK
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Author: kdk ★2017
Date: 2016-06-14 23:12
Glenn, if you have the book, is there any indication of the etudes' original sources? Are these like the Rose studies that were all adaptations of violin material, or was Labanchi actually the composer? I notice there's a Hite edition of this. I wonder if he annotated it the way he did the Rose etudes.
Karl
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Author: GBK
Date: 2016-06-15 00:36
Karl, I have the book and have always thought that these were original etudes for clarinet. Since Labanchi was a clarinet professor at the Naples Conservatory he most likely composed these on his own.
There are no annotations as to any other source of the material, so I think it's pretty safe to assume these were original for the clarinet.
BTW - If you do not have the Labanchi method for clarinet, it's a worthwhile addition for your personal library. At one time this was a very widely used clarinet method, but soon was surpassed in popularity by the Klose method.
...GBK
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Author: Ken Shaw ★2017
Date: 2016-06-15 01:30
When I asked Kal Opperman what he recommended for good melodic etudes (in addition to the usual Klose, Langenus and Lazarus), he immediately said Labanchi. I've played out of the book for years.
They tossed you a real test of your scale knowledge. Playing smoothly in F# major is not easy. Fortunately, if you get tangled up, you can play for a moment in F just to remind yourself of how it goes. Be sure to jump back into F# and play it as written.
Go to your Baermann III and work out all the exercise in F#. Get them buttery-smooth and effortless, as easy as if it were in F.
Although it's marked Allegro moderato, the correct tempo is actually rather slow -- eighth notes at 96-100 is about right. The key is all the 32nd notes. Remember that Labanchi was Italian. You must always sing as you play.
Ken Shaw
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Author: seabreeze
Date: 2016-06-15 05:20
David Hite evidently also thought that Labanchi composed the etudes in his method. On the back cover of Artistic Studies Book 3 From the Italian School, Hite wrote "Gaetano Labanchi (1829-1908) studied first with his father in Palermo and later with Cavallini in Milan. He taught at the Naples Conservatory. His large 'Method for Clarinet' includes 'Progressive Studies in the Flat Keys' and 'Progressive Studies in the Sharp Keys.' These rather long (three to four pages each) etudes, thirty-three in all, explore extended high pitch range, large interval leaps and virtuosic flights of speed, along with operatic style melodies. They were most probably inspired by the Cavallini 'Caprices.'"
The Labanchi etudes offer a more thorough workout through all the keys than the Cavallini caprices and, to my ears, are more musical. The Labanchi pieces deserve to be studied and practiced much more than they are.
Post Edited (2016-06-15 06:42)
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Author: flclarinetist93
Date: 2016-06-15 20:55
Thank you everyone for all the information. I will add the Labanchi to my library. I particularly like the insight on the cavallini relation. At first glance my heart said it's from the cavallini, but the key was a giveaway.
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