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
Technical and performance goals:
- Improve reliable and accurate reading of
music, making school band and ensemble
- 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
- Study phrasing including the recognition
of phrases and how they relate to one
3 STUDY MATERIAL
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
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
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
Forty Progressive Melodies by A.M.R. Barret
Continued use of this volume can constitute
recreational playing, giving vent to
imaginative phrasing style.
FOR CLARINET ALONE
Jaeckel, Wayne: Swing
FOR Bb CLARINET WITH PIANO
(attributed to Wagner)
Corelli-Hite: Adagio and
Debussy-Hite: La Fille Au
Cheveux de Lin
Debussy-Hite: Petite Piece
Garwood, Margaret: A Joyous
Lament for a Gilly Flower (1983)
Handel-Ephross: Sonata No.
Mozart-Hite: Larghetto from
Roberts, Trevor: Trois
Schumann-Gee: Romance No. 3
Sclater, James: Six Folk
Song Studies, Sets 1 & 2