 The Clarinet BBoard
|
Author: Roxann
Date: 2014-03-02 06:10
For those of you who are clarinet teachers, what are your thoughts regarding the Klose's Celebrated Method for the Clarinet? What do YOU prefer to use with your students? Thank you.
|
|
Reply To Message
|
|
Author: seabreeze
Date: 2014-03-02 02:39
Klose still has valuable sections for study and practice, but it is too rooted in the Mozart to Rossini idiom to expose the student to the rich range of music necessary to perform today.
Paul Harris is a good pedagogue in his Clarinet Basics volume with CD and more especially in the multi-volume series Music Through Time (Oxford Press). These volumes include practice in many more time signatures and rhythmic subdivisions than the Klose has and a greater range of musical styles.
Hymie Voxman's Classical Studies and Advanced Studies are great examples of actual music arranged for clarinet. The same is true for his books of duets including the Baroque Duets for Clarinets. Drucker's edition of actual Mozart duets provides better practice in the Mozart-Rossini idiom than Klose's duets.
The teacher should be intimately familiar with everything covered in Avraham Galper's many books and be able to make suitable selections from them. Familiarity with Reiner Wehle's three volume Clarinet Fundamentals is also a plus.
The Frederick Thurston Passage Studies bring more opportunities to practice the actual difficulties presented in music and establish good practice habits for analyzing and developing style and not just finger technique. Victor Polascheck's books also grow out of a rich and diverse selection of music that ranges far beyond what Klose (or Rose) has to offer.
Clarinet students also need regular practice in the kind of sight reading (or "sight singing") exercises that they will later confront in college music courses. These cover non-triadic harmonies and non-symmetrical time signatures completely absent from Klose. Clarinet teachers should have many sight-reading books on hand, suitably transposed for the clarinet and cover some selections at every lesson. Students need to learn some method of melodic and rhythmic solfeggio as well and gradually develop the capability of playing chords and other harmonic progressions as arpeggios.
Jazz studies books are one way to add this harmonic awareness.
Post Edited (2014-03-02 11:12)
|
|
Reply To Message
|
|
Author: Katrina
Date: 2014-03-02 07:40
Of course it depends on the level of the student, but typically I use whatever band method they're in for the first two books. It prevents them overloading and doing what they may perceive as "extra" work, and the two that are most typically used around here (Standards of Excellence and Accent on Achievement) aren't horrible for the first year and a half of playing. If it's not a student in a school band already, I prefer the Student Instrumental Course beginning book (it goes through approximately what both SoE and AoA take two books for). After that I like the Student Instrumental Course Intermediate book. Next would be Rubank Advanced I.
Then it's on to Baermann III and Rose 32, supplemented by repertoire. If a student makes it past that by the end of high school (rare but I've had about 3), then I give them Cavallini.
|
|
Reply To Message
|
|
Author: Tobin
Date: 2014-03-02 12:35
Quote:
Of course it depends on the level of the student, but typically I use whatever band method they're in for the first two books. It prevents them overloading and doing what they may perceive as "extra" work
Hi Katrina -- I actually go in the opposite direction on this one. Among the many things that need to be taught that are clarinet specific or music-reading, the most important thing I teach kids is how to teach themselves. With even modest success in this area we plow through these books well ahead of the band program and the kids often end up bored.
Although it's dry, I use Rubank elementary method primarily and supplement with duets or etudes. Rubank (and other clarinet-specific methods) employ the right hand more quickly, more thoroughly cover the register crossing, new key signatures, etc....
The kids have to do this in addition to their band preparations. Again, however, if the kid is going to do a modest amount of work they quickly find preparing their band lit is easy as they move ahead in ability.
I do appreciate the thoughts above -- as I don't really have a proscribed path of development. In general I take a kid's development and work ethic and assign whatever will challenge them. I think the only consistency is that they will go through some Rose Studies (32) before embarking on sonatas or concerti (although I've recently had a student who jumped the Rose and went straight into the real stuff -- smoking good kid!).
I'm looking forward to other's thoughts and experiences!
James
Gnothi Seauton
Post Edited (2014-03-02 17:35)
|
|
Reply To Message
|
|
Author: Roxann
Date: 2014-03-02 23:00
FYI...I'm 65 and started playing again 4 years ago after about a 40 year hiatus. Therefore, I'm not tied to whatever the high school band director is having the kids learn. One of the groups I play with is a college band and I sit second in the second clarinet section...all thanks to very hard work and dedication on my part while playing catch-up to what I missed during those 40 years. I hope that information makes it easier to answer my first question above. Thanks again.
|
|
Reply To Message
|
|
Author: pewd
Date: 2014-03-03 00:54
Melodious & Progressive Studies for Clarinet, Volume 1, Southern Music #B448
Foundation Studies, Southern #B398
Kroepsch 416 progressive studies, Volume 1. Carl Fischer CF.0312
- Paul Dods
Dallas, Texas
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2014-03-03 04:13
I like the Langenus books (I, II, III).
He's included a lot of wonderful, idiomatic stuff. Book III is wonderful for student/teacher duos.
Bob Phillips
|
|
Reply To Message
|
|
Author: gwie
Date: 2014-03-04 09:14
In addition to bits of Klose, the entire Baermann 3, and Rose 32 and 40, I also teach my clarinet students selected movements from the Sonatas/Partitas (violin) and Suites of J.S. Bach (cello).
I like the two Rubank Duet books, lots of nice stuff in there to work on sight-reading and an initial introduction to chamber music before going after the Sonata repertoire. I also use selected movements from the Bartok 44 Duos (violin) as well.
|
|
Reply To Message
|
|
Author: Katfish
Date: 2014-03-04 13:51
Also Baermann 2 & 4, Rhythmical Articulations by Bona, and any of the Perier studies.
|
|
Reply To Message
|
|
Author: kthln.hnsn
Date: 2014-03-15 19:45
I really like the Rubank books but my younger students think it's so boring because of the lack of colors and pictures. So I usually just use them as a supplement in the summer to the book they were last using in school , which is typically Standard of Excellence or Accent on Achievement. (And I use lots of stickers and colorful pens/markers which greatly helps For more advanced students, as was said above: Rose, Klose, Voxman, Baermann, Kroepsch, etc...And I use these modern clarinet studies that I was given in college, but I unfortunately do not have a name for them or author as they are photo copies and my old teacher lost the originals for as well.
|
|
Reply To Message
|
|
Author: Ed
Date: 2014-03-16 04:33
I like the Klose. I have used it with many students. I do add other materials- solos, etudes and scales. In the Klose I tend to skip around to target specific things. I think it provides a great foundation. I often say that if you can play everything in that book, you can play the clarinet pretty well.
|
|
Reply To Message
|
|
Author: Tony F
Date: 2014-03-16 05:52
When I returned to the clarinet after 45 years or so I dug out the book my original teacher used, the Otto Langley practical clarinet tutor. It doesn't have the little cartoons and such that most modern tutors seem to contain, but the information is all there.
Tony F.
|
|
Reply To Message
|
|
Author: muppie
Date: 2014-03-16 10:09
I am a beginner. I don't even read music all that fluently and there are many things/notations I still don't understand, but I understand enough of the basics to get by.
I really like the Rubank elementary method book mainly because it has no text to read, no pictures to distract. Simply exercises and pure music sheets. The exercises are melodic enough to be pleasant to do, and tricky enough to always trip me up whenever I fell into complacency and started playing by what I think it should be rather than actually reading. So it keeps me on my toes basicaly.
Also in case you haven't seen it, check out this thread, which I find useful and probably relevant to your question:
http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=224152&t=224150
Post Edited (2014-03-16 15:48)
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
