Junior Low Clarinet:  Audition Solo 1A, Moderato grazioso

• Make sure you are able to accurately define each musical term and dynamic marking within the solo. This will help you display the musical character of the solo.
• Put extra length on the tenuto 8th notes in the first and third measures. The staccato quarter notes should be detached and buoyant from the eighth notes.
• The first phrase is four bars, take a breath after the low G half note (m.4)
• Take the next breath before beat 3 in measure 8.
• Measures 8-12 is very lyrical and should crescendo to a mezzo-forte by the downbeat of m.10.
• Take a quick breath before beat 2 in measure 16. Crescendo to a mezzo-forte to the downbeat of measure 19.
• The next breath should be before beat 3 in measure 20.
• Use the side F# chromatic fingering for measure 23.
• From measures 25-28, the difference between connected tenuto and separated staccato is very crucial. The greater the difference, the better. There should be tenuto markings on beat 1 of measures 27 & 28.
• Ideally, measures 25 to the downbeat of m.32 should be all in one breath. If a breath is needed, try taking one before beat 2 in measure 28.
• Place tenutos on the downbeats of measures 29 & 30, emphasizing the note change from F to E.
• Beat 3 of measure 32 is the only forte of the entire solo, make sure you show it! Blow through measures 33-34 and create a big dynamic contrast when you reach the mezzo-piano in measure 35.
• Create the same articulation contrast between tenuto and staccato like the first four measures.

Clinic Low Clarinet:  Audition Solo 2A, Sempre dolce

• Make sure you are able to accurately define each musical term and dynamic marking within the solo. This will help you display the different musical characteristics of the piece.
• Throughout this entire solo, strong air support is crucial to effectively and musically play this solo.
• The first four measures are a four-bar phrase. Y ou should take your first breath before measure 5.
• Start measure 5 at mezzo-piano and crescendo to a mezzo-forte by the downbeat of m.7. You should decrescendo and reach a mezzo-piano by beat 1 of measure 8.
• Measures 5-9 should be all in one breath. Take a quick breath before playing measures 10 & 11.
• Begin the ritardando immediately on the downbeat of measure 11. The fermata in the same measure should last at least 3 beats (a measure and a half of 6/8 time).
• The allegro agitato section should be played softly, but intensely. The accents on each of the big beats add to this intensity without playing loud overall.
• Ideally, you should play measures 12-15 in one breath. If you need to take a breath, take one in between m.13 & 14.
• Measures 16 to 21 should be viewed as one big crescendo: starting at mezzo-forte reaching fortissimo by the downbeat of m.21.
• Take a breath before the downbeat of measure 21 and don’t take your next breath until the quarter rest in measure 23.
• In measure 21, start your decrescendo immediately and reach mezzo-piano by measure 23.
• Take your next breath on beat 3 of m.24 to have enough air for the A/B endings.
• Similar to the beginning of the allegro section, make sure m.23-24 has the same soft intensity before the forte crescendos in both A and B endings.

Senior Low Clarinet: Audition Solo 3A, Andante appassionato

• Make sure you are able to accurately define each musical term and dynamic marking within the solo. This will help you display the different musical characteristics of the piece.
• Take your first breath after the dotted half note in measure 4.
• Crescendo to a mezzo-forte by beat 2 of measure 2 and decrescendo to piano by measure 4.
• Take your next breath after the tied E’s in measure 6.
• Crescendo to mezzo-forte from m.5-6 and go back to mezzo-piano by the downbeat of measure 8.
• Take your next breath after beat 2 in measure 8.
• Your next breath should be in measure 9 after beat 2. This will give you enough air to play through the fermata in measure 11. Hold the fermata for at least 4 full beats.
• Start the animato section with a strong mezzo-forte. The staccato eighth notes throughout this whole section should be light and separated.
• There are multiple dynamic changes and crescendo/decrescendos throughout this section. Make sure to play all of them accurately when specified.
• Measures 12-15 should be in one breath. Take your first breath on the downbeat of m.16.
• For measure 18, use the “fork” left-hand Eb fingering and the side F# fingering.
• Your next breath should be at the end of m.19, before the 7/8 section.-
• The eighth note value should stay the same in m.20-21. Think of a dance for these two measures, with a 2+2+3 subdivision. Make sure you play a strong accent on the 5th eighth note in each measure.
• Use the right-hand side Eb fingering for both m.20 & 21.
• Take a breath after beat 2 in measure 23.
• In measure 24, use the right-hand C#, the flip F#, and the side Eb for smoother finger control
• For ending A, start the section at piano and crescendo to a forte by the downbeat of measure 30. Stay forte until the end of the solo
• For ending B, start piano and reach forte by m.38. Decrescendo to piano by the downbeat of m.40. The forte at the end is a subito forte.

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