1. The general and specific objectives of the subject

The general aim of the subject is to provide a professional knowledge and versatile music education that meets the quality requirements of the age based on the knowledge gained in secondary school and makes it suitable for filling the music teacher’s office. The training is organized in the form of a private lesson in which the teacher’s personality, teaching methods and instrumental presentation are for example for a prospective student candidate.
Under the semester 8 of the main subject work, in the instrumental play of the instrumental play, the emphasis on consciousness, the theoretical background and the education of the entire self-education is of the utmost importance for the student’s preparation for the teaching career. The task of the training is to guide the student to the full development of his artistic abilities.

The aim is for the student to be able to analyze the works in the formative and theoretical style knowledge. Develop independent music thinking as well as constant self-cultivation by expanding professional and general music literacy and performing successful work on the teaching track.
Self-training is an integral part of teacher training, which is promoted by participation in master classes, professional meetings and competitions. For the purpose of obtaining interpretation practice, the students also attend concerts in concerts at 2-3 occasions per semester. Most of the concerts are also recorded, and by analyzing them, we help to further develop students.

  1. Content of the course

2.1 Admission requirements

  • Two freely chosen etudes
  • A fast movements of a concerts
  • A different character and style from the previous

2.2 Content of the course

Attention to the proper use of the basic functions is particularly important in high-level professional training, the theoretical background of which is provided within the framework of the instrumental methodology clock. Proper breathing (support, constant air column)  proper ventilation, venting (throat opening, large oral cavity)  sound start (proper position of tongue)  good hand and posture (lack of which can make the instrumental therapy cramped), all these functions are individually tailored, is decisive for the professional future of teachers. Students should be drawn to the context of the basic functions and to coordinate them. Regular sounding and scaling are best suited to practicing these, which can significantly increase the security of instrument management. Synchronizing mechanisms and achieving secure intonation by scale exercises is the primary consideration.

By performing various types of ethereal materials of sufficient difficulty, the professional development of technical elements is the main goal.

Through the processing and interpretation of the performance pieces, music formation, expression tools, style knowledge, presentation skills, self-conceptual education, and personality traits are realized. It is important to clarify the limits of the artist’s freedom, which is a primary consideration to follow the author’s instructions, and it is recommended to use Urtext editions.

Breaking to semesters the content of the subject, the method of control

  1. szemeszter

The first semester is a thorough assessment of the student’s knowledge, skills and abilities, which plays an important role in the designation of personalized material. Correcting any shortcomings of basic functions may be decisive for the student’s further development. Particularly emphasizing the following:

1507328. correct breathing (support, permanent air column)
1507329. proper storage, ventilation (throat opening, large oral cavity)
1507330. sound start (proper position of the language)
1507331 Incorrect hand and posture (it can make the instrumental manipulation cramped).

Recommended material:

Scale: Kovács Béla- Mindennapos

Périer- Études de Genre et D’Interprétation II.
Périer- 331 Exercices Journaliers de Mécanisme
K. Baermann- 16 Grand Concert Etüden
E. Cavallini- 30 Capricci

Kovács Béla – Hommage a Zoltán Kodály – Hommage a Johann Sebastian Bach

M. Arnold- Szonatina
C. Saint-Saens- Szonáta

Előadási darabok:
K. Baermann- Adagio
G. Pierné- Canzonetta
Ch. Lefebvre- Fantasie-caprice
C. Debussy- Fourpieces
H. P. Busser- Aragon

K. Stamitz- Es-dúr (Darmstadter) Klarinétverseny
G. Donizetti- Concertino
B. Crusell- Esz-dúrKlarinétverseny

  1. semester

In the second half of the year, it is of great importance to continue work on improving sound training and instrument management started in the first half of the year, since correcting previously malfunctioning features may take a long time to come to an end. Of course, all of these workflows are done for the release and joy of playing music.

The main signs of progress:

  • improving intonation
  • a more pleasant tone that is more subtle in color that helps expressiveness
  • the more confident instrument management of a student.

After the student also senses change, advancing in his play, he has more energy to realize different musical ideas. Your game becomes more colorful. Great emphasis should be placed on the unplayed game, as it is compulsory for exams and diploma concerts.

Recommended material:

Kovács Béla- Mindennapos Skálagyakorlatok

K.Baermann- 16 Grand Concert Etüden
A.Périer- 20 Études Faciles et Progressives
F. Kröpsch- Taeglische Übungen III.
E. Bozza- 12 Études

Performing etude:
Kovács Béla- Hommage a Niccolo Paganini Hommage a Béla Bartók

J. Horowitz- Szonatina
F. Poulenc- Szonáta
Előadási darabok:
Cavallini- Adagio e Tarantella
Bozza- FantaisieItalienne
Messagaer- Solo de Concours
Milhaud- Duo Concertante
M. Widor- Introduction et Rondo

V. Krommer-Kramař- Esz-dúr Klarinétverseny
H.Crusell- f-moll Klarinétverseny H.Baermann- Esz-dúr Klarinétverseny

  1. semester

Sound training, instrument management, and the proper presentation of different music styles are still important. Section III. the material of the semester – as compared to the previous one – is expanded to “XX. century or contemporary works “. Because clarinet is a fairly young instrument, so its literature was largely formed in this era. These works are useful in many ways for students:

  • get to know the XX. century artworks and the picture of the era
  • learn the technical solutions needed to perform the works (multifonia, flatterzunge, slaptounge, glissando,)
  • its colorful and varied dynamic range makes the use of air a priority
  • their performance is a great technical challenge

Recommended material:
Kovács Béla- Mindennapos Skálagyakorlatok

F. Kröpsch- Taeglische Übungen III.-IV.
V.Gambaro- 21 Capricci
A.Magnani- 10 Études Capricces
R. Jettel- 18 Etuden

Performing Etude:
Kovács Béla – Hommage a Aram Khatscaturian – Hommage a Claude Debussy
XX. századi vagy kortárs művek:
W. Osborne – Rhabsody
Soproni József- Monologue
Tóth Armand- „Tristan” Partita

P. Hindemith- Szonáta
D. Milhaud- Szonatina
Előadási darabok:
G. Rossini- Bevezetés, téma és variációk
C. M. von Weber- Grand Duo Concertant
Hidas Frigyes- Fantázia
Weiner Leó- Peregi verbunk

C. M. von Weber- f-moll Klarinétverseny
F. Busoni- Concertino
B. H. Crusell- B-dúr Klarinétverseny

  1. semester

In this semester more emphasis is placed on the stage presence. Acquisition of interpretation is indispensable to all performers, even if it is done within the framework of teacher training. In addition to the concerts, we have increased the number of performances by half the stakes.

Recommended material:

Kovács Béla- Mindennapos Skálagyakorlatok

V. Gambaro- 12 Capricci
E. Bozza- 14 Études de Mécanisme
R. Jettel- 18 Etuden

Performing etude:
G. Donizetti- Studie
Kovács Béla- Hommage a Carl Maria von Weber

XX. c. or contemporary pieces:
H. Sutermeister- Capriccio
Láng István- Monodia
Sári József- StatiQuatroTempi

Bernstein- Szonáta

Performing Pieces:
Schumann- Phantasie stücke
Lutoslawski- Táncprelűdök
Lovreglio- La Traviata Fantasia
Giampieri- Carnevale di Venezia

Spohr- c-moll Klarinétverseny
M. von Weber- Esz-dúr Klarinétverseny Hidas Frigyes- Concerto Semplice

  1. semester

Since this semester has become familiar with almost every piece of music that is the same as the material of smaller international competitions, the more talented students it is recommended to be in the international arena. It is indispensable to get acquainted with the international level for the students’ further professional life. Participation in international courses also serves this purpose, as well as an opportunity to get to know other teachers and different schools.

Recommended material:

Kovács Béla- Mindennapos Skálagyakorlatok

Périer- 20 Études de Virtuosité
Gabucci- 10 Études Modernes
Uhl- 48 Etüden I.

Kovács Béla- Hommage a Manuel de Falla
1507328. Hommage a Richard Strauss

XX. századi vagy kortárs művek:
I. Stravinsky- Three Pieces
O. Messiaen- Amibe des Oiseaux
Lendvay Kamilló- Tiszteletem, Mr. Goodman

Brahms – Esz-dúr Szonáta
f-moll Szonáta

Performing pieces:
Weiner Leó- Ballada
J. Francaix- Tema con variazioni
C. Debussy- Premiére rhapsodie

C. M. von Weber- B-dúr Klarinét kvintett
W. A. Mozart- A-dúr Klarinétverseny
L. Spohr- f-moll Klarinétverseny

  1. semester

Recommended material:

Kovács Béla- Mindennapos Skálagyakorlatok

A. Gabucci- 26 Cadences
XX. századi vagy kortárs művek:
Vajda Gergely- Fény-Árnyék-Remegés
Jörg Widmann- Fantasie

S. Karg-Elert- Szonáta Op. 110

M.Reger –Asz-dúr szonáta
Előadási darabok:
Hajdú Mihály- Capriccio all’ongerese
Verdi-Bassi- Rigoletto Fantasie
Pendereczki- Drei Miniaturen
Kocsár Miklós- 5 Movimenti Kókai Rezső- Négy magyar tánc

F. Hummel- Esz-dúr Klarinétverseny
Spohr- Esz-dúr Klarinétverseny

– e-moll Klarinétverseny
P. Hindemith- Klarinétverseny
E. Bozza- Klarinétverseny

  1. semester

The VII. the seminar will select the diploma program. Apart from the diploma material, the student is acquainted with some of the activities that were left out of the recommended material of previous semesters.

Recommended material:

Gabucci, Agostino- 10 Études Modernes Gabucci, Agostino- 10 Fantasie
Jettel, Rudolf- 10 Etüden für klarinette
Miluccio, Giacomo- 8 GrandesÉtudes

XX. századi vagy kortárs művek:
Vántus István- Hommage a Mozart
Csapó Gyula- Oldal’zó ária, fekete lyukon

Olah Tibor- Szonáta
Reger, Max- fisz-moll Szonáta Denisov, Edison- Szonáta

Performing pieces:
Berg, Alban- VierStücke
Schollum, Robert -DreiStücke Op. 71 b

Nielsen, Carl- Klarinétverseny
Francaix, Jean- Klarinétverseny
Copland, Aaron- Klarinétverseny
Bozza, Eugene- Klarinétverseny

  1. semester

In the last semester of the training, preparing for the diploma is the primary consideration. The diploma program will be performed on several concerts.

The way of checking the subject

At the end of the semesters, the students report on their acquired knowledge on a colloquium.

Examination requirements:

  • Two ethos (from different etudes).
  • A contemporary or XX. century work.
  • One or two movements of a concert (from memory).
  • A performance piece or sonata movement (s).

VIII. In the semester students will be able to show their professional skills at a 40-45 minute diploma consecutive course.

Examination requirements:

  • A contemporary or XX. century work.
  • One or two movements of a concert (from memory).
  • A performance piece or sonata movement (s).
  • Chamber Piece
  1. List of compulsory or recommended literature

Recommended readings:

  • Birsak, Kurt:The Clarinet:a cultural history
  • Brymer, Jack: Clarinet
  • Harnoncourt, Nikolaus: Zene, mint párbeszéd
  • Harnoncourt, Nikolaus: A beszédszerű zene
  • Hoeprich, Eric:The Clarinet
  • Lawson, Colin:The Cambridge Companion to the Clarinet