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A real sense of accomplishment comes with progress through level three. The player should
become a good, competent member of the clarinet section in the school band. An interest in
ensemble music could be developing. One hour a day practice sessions should be routine,
and as a result, the fingers should become totally comfortable in the patterns of the most
used keys. A higher level of technical advancement should allow more time for attention to
musical expression. The importance of tonal development through effective long tone study
should be emphasized.
The activities that support continued development should be cultivated. Reeds should be
carefully selected for vibrancy, response, tonal clarity and good dynamic range. Playing
on old worn out reeds should be avoided. At least three well adjusted, broken in reeds
should be maintained at all times.
Technical and performance goals:
- Improve reliable and accurate reading of music, making school band and ensemble music
routine.
- Develop a quicker, more self assured approach to newly assigned music.
- Learn to sense proper tempos.
- Continue to refine tone in three aspects: greater beauty and depth; more power and
softer dynamics; agility to control crescendos and diminuendos.
- Master all articulations, staccato, legato and slurring, in any combination.
- Perform scale patterns in thirds.
- Perform solos publicly.
Theory study goals:
- Know all major and minor scales up to four sharps and four flats.
- Understand the construction of the tonic, dominant and sub dominant chords and how these
chords relate to the scales; recognize the scales and chords in the music being studied.
- Develop the ability to sing and\or recognize any ascending interval up to a fifth from a
given note.
- Expand vocabulary of terms, signs and tempos encountered in the music being performed.
- Study phrasing including the recognition of phrases and how they relate to one another.
LEVEL 3 STUDY MATERIAL
Hite, David: Foundation Studies
Contents: Baermann Method, Part III
Continuing work in this volume, the familiar scales should begin to flow accurately. The
tonic chords, broken chords and dominant seventh chords, and the interrupted and returning
scales should flow well. The four sharps and four flats keys should be routine.
Hite, David: Melodious and
Progressive Studies, Book 1
Continued study in this book, completing the Nocentini studies, the Baermann studies and
the Klose scales in thirds, should develop nice reading and style fluency. Efforts to
stabilize a beautiful sound should be pursued carefully before approaching etudes
requiring greater speed. Sensitivity to dynamics and tonal flexibility should be stressed
and developed at this time.
Hite, David: Melodious and
Progressive Studies, Book 2
Contents:
Gambaro: 20 Caprices
Dont: 24 Etudes
Misc. etudes for special problems
While refining the slower Nocentini and Baermann etudes of Book 1, it is well to begin
practicing these Gambaro studies for finger and tongue dexterity. The key signatures of
these etudes stay within three sharps and three flats. The special studies drill the
tongue, the left hand and the left thumb.
Hite, David: Forty Progressive Melodies by A.M.R. Barret
Continued use of this volume can constitute recreational playing, giving vent to
imaginative phrasing style.
LEVEL 3 REPERTOIRE
FOR CLARINET ALONE
Jaeckel, Wayne: Swing Suite
FOR Bb CLARINET WITH PIANO
Bach-Hite: Bourree
Bach-Voxman-Block: Andante and Rondeau
Baermann-Forrest: Pastorale
Baermann-Hite: Adagio (attributed to Wagner)
Corelli-Hite: Adagio and Gigue
Debussy-Hite: La Fille Au Cheveux de Lin
Debussy-Hite: Petite Piece
Donjon-Guertin: Invocation
Ferling-Jeanjean: Andante de Concert
Garwood, Margaret: A Joyous Lament for a Gilly Flower (1983)
Handel-Ephross: Sonata No. 5
Lacome-Andraud: Rigaudon
Lazarus-Bolls: Studio Espressivo
Mozart-Hite: Larghetto from Clarinet Quintet
Mozart-Voxman-Block: Sonata No. 8
Roberts, Trevor: Trois Promenade (1983)
Schumann-Gee: Romance No. 3
Sclater, James: Six Folk Song Studies, Sets 1 & 2
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