Working on Clarinet Etudes (Demnitz)
（it was posted on NOTE on Jan 2024, and edited and translated into en）
The clarinet population across Japan is thought to be quite substantial, including those in wind bands and other club activities. However, what percentage of these players are currently taking or have previously taken private lessons? How about outside Japan?
For Those Who Have Never Taken Private Lessons ~Composers (mentioned in vol.1 also)
For those who have never taken private lessons
never received professional instruction, or those who are struggling to improve on their own. We will proceed with the hope that you will find a teacher near you to refine your skills.
To "step up," it's important to develop not only technical skills but also musical aspects.
I believe that the clarinet has much more potential. To unlock this potential, I recommend building a solid foundation.
80 graded studies for clarinet
Composers who are included in this book
No. 22 Allegro moderato by Friedrich Demnitz
Friedrich Demnitz (1845-1890)
Demnitz was active during the same period as Lazarus, whom we discussed last time, and was born in Dresden, Germany. He was known as an orchestral player, and his method books have been played by many clarinetists (although they were not used in Japan or America during my student days).
No. 22 Allegro moderato
Let's feel the 2, 2, 4-measure phrases.
The 6/8 time signature is generally felt in two large beats. The dotted quarter note and eighth note at the beginning are tied together. When counting in eighth notes, it becomes "1234-56". If we think of it in triple meter, the first two beats are E, and the third beat is F-E. It's also a good exercise to practice playing it in triple meter (3/4 time). You'll be surprised at how dramatically the mood of the piece changes. Eventually, return to 6/8 and establish that style. You should notice that the F in the F-E doesn't stand out.
When the pitch ascends, a natural drive is created and a crescendo is added, while when it descends, the volume decreases.
How to "PLAY" Rests
For woodwind instruments like the clarinet, how to "play" rests is extremely important. If you treat rests as mere opportunities to breathe, you risk neglecting the phrasing. The key is how you handle the note immediately before the rest, so study how to end notes in your daily long tone practice.
Moreover, it's not that there's no sound during rests. Remember to "pause" while maintaining resonance and reverberation when cutting off a note or creating space between notes. If you stop the reed's vibration with your tongue, the resonance will stop simultaneously. Consider the piece and style, and try to develop various tonguing techniques and ways to handle notes. Be sure to reference string instrument performances as well.
Sense of Key
There are no sharps or flats in the key signature, and the piece ends on A. Also, G is sharpened (raised 7th). Given the melancholic tone of the piece, we can determine that this is in a-minor . Those working on etudes are likely practicing their scales diligently as well. Mastering the scale of the piece you're practicing is beneficial not only for scales but also for arpeggios and other aspects. For instance, if you understand the need for alternate fingerings in advance, you'll be able to respond instantly during performance.
(in my recording, due to the key pads on C was sticky, it messed some notes....)
In Conclusion
I hope this has been of some help to you.
Please give it a try and let me hear your recording!
And even if you're not specializing in music, I recommend taking lessons.
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