clarinet altissimo exercises pdf Kroepsch: 416 Progressive Clarinet Studies, Book 3

clarinet altissimo exercises pdf Kroepsch: 416 Progressive Clarinet Studies, Book 3This edition is Book 3 of 4 in the 416 Progressive Studies, revised by Jrgen Schubert. The other parts of the series are available from the same publisher: Book 1: 167 Daily Exercises Book 2: 183 Daily ExercisesBook 4: 26 Exercises Compare different editions of the 416 Progressive Studies Very little is known about Fritz Kroepsch (Krpsch); Pamela Weston notes in her book More Clarinet Virtuosi of the Past that he studied at the Vienna Conservatory

This edition is Book 3 of 4 in the 416 Progressive Studies, revised by Jürgen Schubert. The other parts of the series are available from the same publisher:

Book 1: 167 Daily Exercises
Book 2: 183 Daily Exercises
Book 4: 26 Exercises

Compare different editions of the 416 Progressive Studies

Very little is known about Fritz Kroepsch (Kröpsch); Pamela Weston notes in her book More Clarinet Virtuosi of the Past that he studied at the Vienna Conservatory from 1824 to 1826.  Book 3 (#351–390) of the 416 Progressive Studies contains 3 different exercises, each written in all 12 major keys (plus a 13th enharmonic equivalent of G♭). The first (#1–13) is 16 measures of scales which pass through a harmonic progression (I–vi–IV–I) with varying articulation and, in a few instances, chromaticism and small intervallic breaks. The second (#14–26) is 18 measures of ascending scales with descending broken arpeggios which pass through a harmonic progression (I–vi–IV–ii–I) with varying articulation, scales in thirds, larger intervallic jumps, and chromaticism. The third (#27–39) is 24 measures of modulating broken arpeggios. The last page is an extra exercise (#40) of arpeggios modulating through all keys.

Quick facts
Length: each exercise = about 1/2 page
Range: highest pitch = written A♭6
Key signature: no ♯/♭, 1♯, 2♯, 3♯, 4♯, 5♯, 6♯, 1♭, 2♭, 3♭, 4♭, 5♭, 6♭
Time signature: 4/4

Although each individual exercise is longer than those in Books 1 and 2, the technical demands here are confined to the most traditional of scale and chord patterns. Regular use of the altissimo, as high as an A♭6, means that these are best suited for an advancing intermediate clarinettist. The only time signature used is 4/4.