At level four, opportunities for many
exciting activities begin to emerge:
auditions for solo chair positions at
school, solo and ensemble contests,
scholarship auditions. Summer enrichment
programs, music festivals and regional
band-orchestra chairs should be pursued.
Continuation of private study is important
to effectively focus on detailed
preparations for solo appearances, contests
and auditions. If possible, a professional
level instrument should be obtained to
attain the best in sound, intonation and
technique. An interest in mouthpieces,
better reeds and the skill of adjusting
reeds should continue to evolve.
More extensive listening habits should be
developed. Following good music radio
stations, learning the classical orchestral
repertoire, learning about great composers,
and identifying music periods and jazz
styles will cultivate high performance
standards and ambitions.
Technical and performance goals:
- Develop more sophisticated tonal
concepts and control: tonal beauty,
natural use of dynamic flexibility, and
awareness of perfect intonation. Observe
the effects of mouthpieces, instruments,
reeds, rooms, halls, recording techniques
and geographic location on tonal voicing.
- Experiment with various acquired
techniques to create a mood experience for
the listener. Avoid lackluster mechanical
- Improve proficiency and fluency in
- Prepare and maintain good reeds.
- Perform major solo works by memory.
- Begin study of extended pitch range to
high Ab, A and Bb.
Theory study goals:
- Understand the cycle of major and minor
- Know and perform the chromatic,
diminished and whole-tone scales. Begin
work on performing scales in intervals.
- Aurally and visually identify all
intervals within the octave, and learn to
sing these intervals from a given pitch.
- Sight sing unfamiliar melodies.
- Routinely study assignments without the
instrument before practice, analyzing each
etude as to key, scale and chord patterns,
phrases, tempos, rhythms, alternate
4 STUDY MATERIAL
Contents: Baermann Method, Part III
Practice should extend into the intervals of
thirds, fourths and fifths. Work on the
scales, chords, interrupted scales and
returning scales in five and six sharps and
flats, as well as chromatic scales and
diminished chords should be in progress.
Hite, David: Melodious and
Progressive Studies, Book 2
Continuing study should encompass all the
Gambaro and the Dont etudes. Both are
excellent preparation for the Rose studies.
The Dont etudes develop dexterity in larger
intervals requiring not only finger
coordination, but also eye and ear
coordination for tonal consistency. The
additional etudes can be used for special
problems: staccato, left hand finger
coordination and register change. Six
Lazarus etudes provide
challenges in chromatics, advance legato,
the cadenza and pushing rapid finger speeds.
Hite, David: Artistic
Studies, Book 1 from the French School
C. Rose: 40 Etudes
C. Rose: 32 Etudes
C. Rose: 9 Caprices
Depending on the student's capabilities,
study of these etudes can begin on this
level. The etudes should be learned
thoroughly so that they can be performed to
Four Sonatas by A.M.R. Barret and Five
Melodious Studies by D. Alard
Study of these three movement Barret Sonatas
focuses on refinement of musicianship,
accuracy of reading and stability of
performance. Intermediate in difficulty,
they can supplement the Melodious and
Progressive Studies, Book 2, and are also
appropriate for concert performance. The
Alard studies provide a solid review of
technique and articulation.
FOR Bb CLARINET WITH PIANO
Autumn Soliloquy (band accompaniment
Cossaboom, S.: Fragments
Dere-Hite: Andante and
of the Boyars
Handel-Andraud: Concerto in
Henn, Randahl: Duo Sonata
Koch, Frederick: Incessant
Lehman, Ralph: Suoronos
Pierne, Gabriel: Canzonetta
Quet, L.: Petite Piece
Reed, Alfred: Serenade
(band accompaniment available)
Sclater, James: Rumanian
Stack, Leonard: Sonata
on a Theme by Corelli
Tartini-Hite: Sonata in G
Album for the Young
Ulman, Barry: Elegy
Weiner, Lawrence: Fantasy