Etudes and More with Dr. Laura McLaughlin
Hello again to the clarinet community! The EFCP blog has been on hold for a while, but I’m happy to start sharing E-flat clarinet news and tips again this year.
If you’re anything like me, you’ve probably experienced some dips in practice motivation over the last few months. I’ve found that working through new music has been extremely helpful - simply sight reading pieces and discovering new repertoire is something I don’t often have time to indulge. If you’re looking for new pieces, keep checking the database - there will be a lot of updates coming soon!
On the topic of new pieces to play, Dr. Laura McLaughlin recently published a book of E-flat clarinet etudes! I’ve read through a few of them, and I know this is something I’ll be using in my practice, as well as something I recommend to my students. We have been corresponding since her book was released - both her etudes and her dissertation are fantastic resources for clarinetists looking to focus on E-flat clarinet. Keep reading to get to know more about Dr. McLaughlin and her new etude book!
JF: What was your first experience with E-flat clarinet? When did you know it was an instrument that you were especially interested in?
LM: My first experience with E-flat clarinet was in high school playing Johan de Meij's first symphony Lord of the Rings. I remember being able to cut through and be heard quite easily and thought, "wow, this is great!" Not long after that I remember performing in my high school musical's production of The Music Man and doubling on E-flat. I was drawn to the parts that were written for E-flat - many solisitic moments full of high energy. And those 'characters' just seemed easy and natural to play.
JF: You go into a lot of detail about E-flat clarinet playing technique in your dissertation! In your experience, what is the most common misconception or issue when clarinetists start playing E-flat?
LM: I did get into a lot of detail, didn't I! The most common misconception I witness when clarinetists start playing E-flat, especially in an ensemble, is the assumption that the role of the E-flat clarinet is the same as the role of the B-flat clarinet. I've seen this mindset lead to poor air support, playing too soft, greater intonation issues, and an overall unconfident sound because players are trying to hide in the clarinet section sound. Once a clarinetist begins to understand the context and role of the E-flat clarinet (they're more likely to play with piccolo and flute than with the clarinet section, they're more likely to play in a higher tessitura than they're use to, understanding and studying the score so that clarinetists realize what the E-flat specifically brings to the the piece) the freer and more confident the sound will be! Great fundamentals help of course, but I think the mindset shift helps a ton too.
JF: As a part of your dissertation, you wrote a series of etudes that are now available - what was that process like?
LM: I wanted to help clarinetists who are first starting to play E-flat. I made a list of challenges that often come up when transitioning to the E-flat, and thoughtfully composed the etudes around those challenges. The range of each etude goes a bit higher in the tessitura. So for example my goals for Etude No. 1 were: keep the range between written D5 and written D6, create memorable melodic material, write a variety of legato articulations, add as many written C#6 to D6's as possible to practice intonation and timbre of those often challenging notes on E-flat.
My inspirations were the Rose 32 Etudes and the Polatschek Advanced Studies for Clarinet. The latter book because some of my etudes are inspired by E-flat excerpts (Symphony Fantastique, Mahler Symphony No. 3, Shostakovich Symphony No. 5) highlighting a specific technical challenge much the same way Polatschek does it.
JF: What players would benefit most from your etudes? Is there a certain level you had in mind?
LM: Advanced high school students through professional players who need to brush up on E-flat after a hiatus would benefit most I think. (Sometimes that includes me too!) As an example I have a friend who is a full time band director and clarinet is her primary instrument. She bought her own E-flat clarinet recently and is excited to dig into this book because excerpts aren't quite the right fit for her at the moment.
More specifically, the etudes are written in a higher tessitura than other etudes. So it's excellent supplemental material for E-flat, and it's great "cross-training" for B-flat clarinet if you want to brush up on your altissimo playing ;) It is, after all, playable on any clarinet.
JF: What's your favorite piece to play on E-flat clarinet?
LM: The two pieces that come to mind are Leos Janacek's Sinfonietta and Ravel's Daphnis and Chloe. So much fun to play!
JF: What advice do you have for clarinetists wanting to play E-flat clarinet?
Invest in musician earplugs and get used to playing with them in both the practice room and on stage. Your ears will thank you later in life!
Thanks to Dr. McLaughlin for sharing some of her insights on playing E-flat clarinet! Her book of E-flat clarinet etudes can be purchased here.
About Dr. Laura McLaughlin
Dr. McLaughlin is on faculty at Carroll University and the University of Wisconsin Oshkosh. She is a founding member of Chicago-based new music ensemble Lakeshore Rush and the dynamic female clarinet duo Duo LaRo. Dr. McLaughlin has been a featured performer at the International Clarinet Association’s ClarinetFest, the American Single Reed Summit, the Society of Composers Region V Conference, New Music Chicago’s Impromptu Fest, and Access Contemporary Music’s Thirsty Ears Festival. She is a member of the Wisconsin Wind Orchestra, and performs regularly with the Madison Symphony Orchestra. Dedicated to new music, Dr. McLaughlin has commissioned and premiered chamber works by Chris Thomas, Roger Zare, Dane Crozier, Laura Schwendinger, Joshua Hintze, Jonathan Hannau, Griffin Candey, Pierre Jalbert, and Beth Bradfish. Dr. McLaughlin’s research focuses on E-flat clarinet music, history, and pedagogy. Her article “E-flat Tips from the Pros” was published in the Clarinet Journal, with another article set to come out in December celebrating John Bruce Yeh's distinguished life and career. She is a D’Addario Supervisor Clinician and a registered yoga teacher (RYT 200). Dr. McLaughlin received a BM degree from Eastern Michigan University, a MM degree from Michigan State University, and a DMA degree from University of Wisconsin-Madison. Her primary teachers include Dr. Linda Bartley, Dr. Elsa Ludewig-Verdehr, and Dr. Kimberly Cole-Luevano. For more visit laurakmclaughlin.com.