 The Clarinet BBoard
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Author: kurth83
Date: 2024-09-21 10:22
My clarinet Journey is continuing, about one year in at this point.
Seems like every book I have, Klose, etc., peters out after 2 or three sharps and flats. 4 of either is as rare as a 4 leaf clover.
The one lone arpeggio study in A, Klose on page 264 (the Blatt one) is an example of what I am looking for.
Anyone know of books with musical (meaning not excruciatingly boring) etudes that cover all the keys?
I know a guy who modified the Arban (trumpet) book to cover all the keys with every study, it came out to 800 pages. Not wanting to repeat that kind of work myself.
I suppose I could just transpose, but that doesn't help my sight reading of the 'odd' keys as much as I would like.
Aging classical trumpet player beginning to learn clarinet as a second.
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Author: Paul Aviles
Date: 2024-09-21 17:00
I'd suggest the Kroepsch books (Progressive Daily Studies). Book IV is what you're asking for, a series of one or two page exercises that go through all the keys. But I like working through the series. The first two books are short, one or two line exercises. There are two pages of those in all keys. The third book is series of more involved one page modulations (in scales, arpeggios and modulating figures).
Someone on the Board had a link to a book that had all four volumes together and some Kroepsch duets. But I prefer having the smaller chunks (separate volumes) myself.
.........Paul Aviles
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Author: Philip Caron
Date: 2024-09-21 17:40
The Jeanjean Progressives that kilo suggested have two etudes in each key. Most are formulaic, effective, and musically not too interesting (for me), but there are several I like to return to for enjoyment.
Some other etude books like Uhl have some etudes scored in the keys you mention, but they also have etudes or parts of etudes that are effectively in those keys, having all the accidentals written in rather than specifying them with a key signature. Jettel's Accomplished books are also frequently like that (but beware of their error-ridden edition.)
Practicing scale patterns brings facility to all keys, so then the remaining technical difficulty with less usual keys is reading, especially sight-reading. Practicing musical etudes gets one accustomed to musical appearances of double-sharps etc.
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Author: ruben
Date: 2024-09-21 18:22
Kurth: I took some vocal exercises composed by Mozart for his wife-whom I didn't know personally (ha, ha) entitled Solfeggi, and extended them and wrote a version for clarinet. The first few bars are by Mozart and the second part, by yours truly. I have put them in all keys, which is what you're looking for. They're very melodic; very pleasant to play, I think. I'd be happy to email them to you. You have my email adress that is posted here.
rubengreenbergparisfrance@gmail.com
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Author: lydian
Date: 2024-09-21 21:37
I find virtually no sight reading value to etudes in multiple keys. Problem is you already know what it sounds like after the first key. So you're not 100% reliant on reading anymore. The best sightreading material needs to be completely unfamiliar.
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Author: Tom H
Date: 2024-09-21 22:07
One of the etudes in my book changes keys every 2-4 measures or so.
The Most Advanced Clarinet Book--
tomheimer.ampbk.com/ Sheet Music Plus item A0.1001315, Musicnotes product no. MB0000649.
Boreal Ballad for unaccompanied clarinet-Sheet Music Plus item A0.1001314.
Musicnotes product no. MNO287475
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Author: sfalexi
Date: 2024-09-21 22:51
One of my staples that I revisit every few years is Violin Partitas and Sonatas transcribed for clarinet.
https://www.amazon.com/Classical-Studies-Clarinet-Educational-Library/dp/0634086812/ref=sr_1_4?crid=2FPSEZJMWDFYQ&dib=eyJ2IjoiMSJ9.ZcLjEo13gtcS0NSPL3sCFaxvrN11GWqxkkXm-4Yao0feCG9nKtBOnEvfMXyiz21ImijkNeB1s2CK_-U5E1FP0PVkG5fixyhd6rD2WGMsvjbqgDHOUa9O_CDlaeHelRksbKXV_QWj0vZKkGgtgKRg6NXZvfDQucvJEZFe1YwtgUmSGuB2_CrAF3HkxWNmnyiXORNf6QbUWclDpukEPuAVyMRrACRJCnZIWH0QMEnK6c0.LNoa1OEnVQnJAwqiw5zoE45o9KjHxugCaxU1qVLdZRg&dib_tag=se&keywords=bach+partitas+clarinet&qid=1726944646&s=books&sprefix=bach+partitas+cla%2Cstripbooks%2C252&sr=1-4
I think that's the one.
PLenty of 3 and 4 sharp ones for you to stick with! Mind and finger twisters, as well as keeping that mind sharp to try to make everything musical! I'll never be great at it, but it's fun trying to be!
Lex
US Army Japan Band
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Author: kurth83
Date: 2024-09-23 06:19
Thanks for the ideas everyone, I didn't know about Kroepsch later volumes, I only knew about the excerpts in Klose and assumed they were all like that.
Aging classical trumpet player beginning to learn clarinet as a second.
Post Edited (2024-09-23 06:20)
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Author: symphony1010
Date: 2024-09-23 18:39
A couple of points: -
Early studies reflect the fact that the clarinet didn't sound too good in remote keys!
In practical terms if real music starts to head into remote territory it's likely you will change instruments anyway. Many of us even rewrite poorly conceived parts where the composer puts something on the Bb that should really be on the A. Strauss Oboe Concerto comes to mind.
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Author: MarkS
Date: 2024-09-23 22:19
I was expecting someone to mention Rose 32; it has etudes in all keys up to five sharps and flats. While I have Kroepsch Volume II, time is precious and I view the benefit of practicing this material to be quite low for reasons others have mentioned. To be prepared for the rare occasions when such key signatures arise, I believe it is probably enough to practice them using scale-oriented exercises that can be found in many books such as Baermann, Langenus (Vol. 3), etc.
Mark
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Author: Philip Caron
Date: 2024-09-24 01:37
Quote,
"In practical terms if real music starts to head into remote territory it's likely you will change instruments anyway. Many of us even rewrite poorly conceived parts where the composer puts something on the Bb that should really be on the A. Strauss Oboe Concerto comes to mind."
Though I've seen this thought expressed by others on this forum multiple times before, it still surprises me. I've also seen many times on this same forum the advice to practice Baermann et al. If a, then why b, or vice versa?
How common is the quoted practice? Is it done at professional levels? Even as a pure nobody, barely even an amateur, I've still practiced scale books and remote key etudes (and noodled aimlessly around) enough over the years that key signatures don't feel like much of a technical consideration at all. Maybe I'm not quite as fast or smooth in F# major as I am in F major, but the difference isn't a showstopper for anything I've wanted to play.
Maybe someone could post an excerpt of the clarinet part of Strauss's Oboe Cto.
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Author: kdk
Date: 2024-09-24 17:12
Philip Caron wrote:
symphony1010 wrote:
>> "In practical terms if real music starts to head into remote
>> territory it's likely you will change instruments anyway. Many
>> of us even rewrite poorly conceived parts where the composer
>> puts something on the Bb that should really be on the A.
>> Strauss Oboe Concerto comes to mind."
>
> How common is the quoted practice? Is it done at professional
> levels? Even as a pure nobody, barely even an amateur, I've
> still practiced scale books and remote key etudes (and noodled
> aimlessly around) enough over the years that key signatures
> don't feel like much of a technical consideration at all.
> Maybe I'm not quite as fast or smooth in F# major as I am in F
> major, but the difference isn't a showstopper for anything I've
> wanted to play.
>
That's the point in a nutshell. If it won't be as fast or smooth in F# Major as it would be in G Major (assuming a Bb part transposed to A) or F (if the original is an A part), most performing musicians would put enough importance on the advantages of potential speed, smoothness and gracefulness to do the transposition.
We used to have rousing discussions/arguments back when Dan Leeson was active here about the ethics of doing this - if the composer wanted the sound of an A clarinet, the performer isn't entitled to make a different choice for mere convenience. That approach has its adherents. But in my experience with working orchestral players - my teachers included - it is routine to choose the more technically graceful instrument in most cases of remote keys.
That said, *technical fluency* in the more remote keys is important because it isn't always easy to make a change when there aren't long enough rests to make them securely, or the passage is too short to make the change worthwhile. And often difficulties within a single musical section balance out on whichever instrument you choose. I don't know that *sight-reading fluency* in those keys is so important.
Karl
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Author: kdk
Date: 2024-09-24 17:22
To the OP: What do you consider to be your general technical level? You mention that you've been playing for a year. A great many of the suggestions that have been made - even the Rose 32, which was one of my first thoughts, are much too technically demanding for most clarinet learners after only a year. I realize you described yourself as an "aging classical trumpet player beginning to learn clarinet as a second." So you're probably technically beyond most one-year players, but I'm curious to know which of the etude collections mentioned in this thread you would consider approachable at this point in your clarinet journey. It might help to focus ideas a little more finely.
Karl
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Author: lydian
Date: 2024-09-24 19:09
I can't say how thorough these are in terms of exercises in all keys, but here's a good overview of various method books:
https://www.earspasm.com/blogs/blog/books-everyone-should-have
Check out his youtube channel as well. One of my favorite clarinet youtubers.
Like you, I'm an older adult proficient on other wind instruments but relatively new to clarinet as of a few years ago. I'm primarily a sax and flute player, dabbling in tuba, trombone and trumpet as well. Most of my clarinet playing is big band and New Orleans jazz. So crazy keys are very rare for me. I've gotten the most out of Klose and Baermann, being entirely self taught.
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