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Florida State University Libraries 2015 Pedagogical and Performance Practices of the E-Flat Clarinet: Teaching Methods and Solo Repertoire Jennifer Michelle Tinberg Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PEDAGOGICAL AND PERFORMANCE PRACTICES OF THE E-FLAT CLARINET: TEACHING METHODS AND SOLO REPERTOIRE By JENNIFER MICHELLE TINBERG A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music ©2015 Jennifer M. Tinberg defended this treatise on October 30, 2015. The members of the supervisory committee were: Jonathan Holden Professor Directing Treatise Clifton Callender University Representative Deborah Bish Committee Member Jeffery Keesecker Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my uncle, R. Perry Awe, whose interest in music and art has always inspired me. This project would not have been possible without you. iii ACKNOWLEDGMENTS This treatise was possible through the support, input, and encouragement of numerous people. I would like to express my gratitude to: Dr. Jonathan Holden, for helping me realize my potential as a musician and educator. My committee: Dr. Deborah Bish, Professor Jeffery Keesecker, and Dr. Clifton Callender, for their guidance throughout my time at FSU. Dr. Frank Kowalsky, Dr. Justin O’Dell, and Dr. Richard Fletcher for believing and investing in me throughout my previous years of study. My colleagues at FSU, especially Corinne Smith, who assisted me in gathering a number of resources. My colleagues at Troy University, for their support and encouragement. Frannie Simon, for the editing, phone calls, and much-needed perspective. My parents, Greg and Jackie Tinberg, and siblings, Stephanie and David Tinberg, for always providing love and support. Benjamin Fraley, for believing in me more than I thought was possible, and for inspiring me to do more than I dreamed I could. iv TABLE OF CONTENTS List of Musical Examples ............................................................................................................. vii Abstract ............................................................................................................................................x 1. BACKGROUND ........................................................................................................................1 Introduction .................................................................................................................................1 History and Development of High Clarinets ...............................................................................1 Perceptions and Stereotypes: The E-flat Clarinet in the Clarinet Community ...........................5 2. E-FLAT CLARINET IN MUSICAL CONTEXT ......................................................................7 In the Orchestra ...........................................................................................................................7 In the Concert Band ..................................................................................................................19 Summary ...................................................................................................................................27 3. PRACTICE AND PEDAGOGY ...............................................................................................28 Teaching: Concepts and Methods .............................................................................................30 Teaching Through Excerpts ......................................................................................................34 Summary ...................................................................................................................................39 4. SOLO REPERTOIRE OF THE E-FLAT CLARINET .............................................................40 Introduction ...............................................................................................................................40 Historical Works .......................................................................................................................41 20th Century Repertoire .............................................................................................................44 Recent Compositions ................................................................................................................51 Summary and Conclusions ........................................................................................................62 APPENDICES ...............................................................................................................................64 A. ADDITIONAL SOLO AND DUO REPERTOIRE ..................................................................64 B. BIOGRAPHIES OF INTERVIEWED CLARNETISTS ..........................................................68 C. FINGERING CHART ...............................................................................................................72 D. PUBLISHING PERMISSIONS ................................................................................................74 E. IRB APPROVALS AND CONSENT FORMS ........................................................................83 REFERENCES ..............................................................................................................................88 v BIOGRAPHICAL SKETCH .........................................................................................................92 vi LIST OF MUSICAL EXAMPLES 2.1 Berlioz: Symphonie Fantastique, mvmt I. – violin I idée fixe beginning in m72 ................8 2.2 Berlioz: Symphonie Fantastique, mvmt V – E-flat clarinet solo, rehearsal 63 ....................9 2.3 Strauss: Till Eulenspeigel’s Merry Pranks, D clarinet: 5 measures before rehearsal 3 .....10 2.4 Strauss: Till Eulenspeigel’s Merry Pranks, D and B-flat clarinets, rehearsal 31 ..............11 2.5 Strauss: Till Eulenspeigel’s Merry Pranks, solo at rehearsal 40 for D clarinet .................11 2.6 Strauss: Till Eulenspeigel’s Merry Pranks, solo at rehearsal 40 for E-flat clarinet ...........11 2.7 Stravinsky: The Rite of Spring, I. “Adoration of the Earth” D clarinet solos ...................13 2.8 Stravinsky: The Rite of Spring, I. “Adoration of the Earth” D clarinet solos transposed by author for E-flat clarinet.....................................................................................................13 2.9 Stravinsky: The Rite of Spring, “Spring Rounds” E-flat clarinet solo ...............................14 2.10 Ravel: Bolero, E-flat clarinet solo at rehearsal 3 ...............................................................16 2.11 Ravel: Piano Concerto in G Major, mvmt I E-flat clarinet solo motive ...........................17 2.12 Ravel: Piano Concerto in G Major, mvmt I woodwinds after rehearsal 18 ......................18 2.13a Ravel: Piano Concerto in G Major, mvmt III opening E-flat clarinet solo .......................18 2.13b Ravel: Piano Concerto in G Major, mvmt III opening E-flat clarinet solo .......................19 2.14 Sousa: The Glory of the Yankee Navy, E-flat clarinet, last strain ......................................21 2.15 Sousa: The Glory of the Yankee Navy, Solo and 1st B-flat clarinets, last strain ................21 2.16 Vaughan Williams: Folk Song Suite, No. 2 Intermezzo “My Bonnie Boy,” E-flat clarinet, Poco Allegro ......................................................................................................................23 2.17 Holst: Hammersmith, E-flat clarinet solo in the prelude ...................................................24 2.18 Holst: Hammersmith, E-flat clarinet solo, scherzo theme .................................................25 2.19 Grainger: Lincolnshire Posy, 3. Rufford Park Poachers, opening E-flat clarinet solo .....26 3.1 Ravel: Bolero, 10 measures after rehearsal 3 to 4 measures before rehearsal 4 ................36 vii 3.2 Ravel: Bolero excerpt, transposed by author .....................................................................36 3.3 Berlioz: Symphonie Fantastique, 9 measures after rehearsal 63 to 4 measures before rehearsal 64 ........................................................................................................................37 3.4 Berlioz: Symphonie Fantastique¸ exercise transpositions by author .................................37 3.5 Stravinsky: The Rite of Spring, Rehearsal 48-49 ...............................................................38 3.6 Stravinsky: The Rite of Spring¸ 6 measures before rehearsal 49, transposed by author ....38 4.1 Cavallini: Carnevale di Venezia, Var. 2 ............................................................................42 4.2 Cavallini: Carnevale di Venezia, Var. 1 ............................................................................42 4.3 Cavallini: Carnevale di Venezia, Var. 3 ............................................................................43 4.4 Reed: March Variations, Rehearsal K to 4 before rehearsal L ..........................................45 4.5 Reed: March Variations, 3 measures after rehearsal M to rehearsal N .............................46 4.6 Reed: March Variations, Rehearsal D to 3 before rehearsal E ..........................................46
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