musical styles: the selected clarinet works of paul harvey
TRANSCRIPT
Musical Styles: The Selected Clarinet Works
Of Paul Harvey
By
Joshua D. Lovell, B. M., M. M.
A DMA Document
Submitted to the Graduate Faculty
of Texas Tech University in Partial Fulfillment of The Requirements for
The Degree of
Doctorate of Musical Arts
Approved
David Shea Chair of the Committee
Eric Allen
Amy Anderson
Mark Sheridan
Dean of the Graduate School
Date: May, 2017
© Copyright 2017 by Joshua Lovell All Rights Reserved
Table of Contents
Paul Harvey 2 Character Pieces 5 Suite in Baroque Form 20th Century Tonal Melodic Style 9 Sonata Melodic Improvisation Style 10 Improvisation on Martial Inversion American Jazz influence Style 12 3 Etudes on Themes of Gershwin Summary 16 Performance Suggestions 18 Suite in Baroque Form Sonata Importation on Martial Inversion 3 Etudes on Themes of Gershwin Clarinet Works List 46 Bibliography 48
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Paul Harvey
Paul Harvey was born in Sheffield, England in 1935. He began learning the clarinet at the
age of eleven. In 1949, he became a member of the National Youth Orchestra in Great Britain
and began professional work at the Sheffield Empire Variety Theatre on both alto saxophone and
clarinet.1 In 1952, he was awarded a scholarship to go to the Royal College of Music to study
clarinet with Fredrick Thurston, Ralph Clarke, and composition with John Addison. He
completed his National Service with the Band of Irish Guards from 1953 through 1956,2 and was
also the bass clarinetist of the Scottish National orchestra, and later a member of the
Bournemouth Symphony Orchestra.3
One of the most important figures in Harvey’s life was his first clarinet professor
Fredrick Thurston. Although Thurston passed away shortly after Harvey began his college career
in 1953, Harvey mentions in 2001, at the celebration event for Thurston, that Thurston was an
idol of his and an inspiration to him and many others at the beginning of their careers. Thurston’s
professionalism and talent had such an influence on his students and produced several successful
clarinet composers and performers.4
After attending the Royal College of Music, Harvey’s fame as a clarinetist and
saxophonist increased significantly. From the 1960’s onward, he was a London freelance player,
working for the BBC Symphony Orchestra and many West End Musical productions, both on the
1“Paul Harvey, Kes 46-52,” King Edward VII School, Sheffield, accessed July 15, 2016,
http://oldedwardians.org.uk/nlc/personal/PaulHarvey.htm. 2“Paul Harvey,” Clarinet and Saxophone Society of Great Britain, accessed December
22, 2016, https://www.cassgb.org/paul-harvey-vice-president/. 3“Paul Harvey, Kes 46-52”. 4Paul Harvey, “The Fredrick Thurston (1901-1953),” The Clarinet 29, no. 1 (2001): 34-
36.
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saxophone and clarinet.5 For the next 25 years, his work consisted of recording sessions for
numerous films and TV programs. Much of this work consisted of playing bass and contrabass
clarinets in the National Philharmonic Orchestra.
In 1969, Harvey co-founded and was the leader of the London Saxophone Quartet. This
group was very active over the course of the next sixteen years.6 Harvey wrote extensively for
the Saxophone Quartet during the 1970’s. When the World Saxophone Congress was held in
London, there were many featured multiple performances of Harvey’s quartet works, which
included the three great Concerti for Soprano, Tenor, and Baritone Saxophone and the
Concertino Grosso for chamber orchestra and saxophone quartet. The Saxophone Quartet’s
repertoire contained many of Paul Harvey’s compositions.7 Harvey mentions in his book
Saxophone, that he believes “the string quartet is a perfect chamber music medium and the
saxophone quartet is the nearest wind equivalent. The saxophone quartet offers a true consort of
four members of the same family, capable of a homogeneous blend playing their own individual
characteristics.” 8
In addition to Harvey’s extensive performance activities, he was also a professor of
saxophone and clarinet. In 1969, Harvey was appointed the professor of Clarinet at the Royal
School of Military Music. He later taught saxophone at the Royal School and served as the
clarinet professor at Trinity College of Music during the 1970’s. Harvey retired as senior
5“Paul Harvey,” Clarinet and Saxophone Society. 6“Paul Harvey, Kes 46-52”. 7Max Holgate, “Clarinet and Saxophone Music by English Composers Part 1: Paul
Harvey,” School Musician: Director and Teacher 52 (April 1981): 32-33, 43. 8Paul Harvey, Saxophone (London: Kahn & Averill, 1995), 70.
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professor in 1995 but continued to perform and compose.9 After retiring, Harvey continued
private lessons, composition, conducting, and international adjudicating as juries of music.10
While serving as a professor, Harvey was also one of the original members and vice
president of the Clarinet and Saxophone Society of Great Britain. The CASS of Great Britain
was founded in 1976 for the benefit of anyone with an interest in clarinet or saxophone. The
CASS produce quarterly magazines with topics and events for soloist and chamber competitions,
performance dates, repair workshops, and conferences information. This society is not only
intended for Great Britain musicians, but is interested in attracting players from all over the
world with a mission statement: “To encourage in any way the society sees fit, the enjoyment,
appreciation, knowledge, and understanding of the instruments of the clarinet and saxophone
families and the music playable on them.” 11
Harvey has achieved great success through his contributions to the clarinet and
saxophone fields.12 He has written many books, reviews of literature, and composed and
arranged many works for the clarinet and saxophone families. He is also a renowned conductor
of his own works in Great Britain, the United States, Belgium, and Holland.13
In 2002, the International Clarinet Association, presented Harvey with a lifetime
achievement award for outstanding performance, composition, teaching, and service to the
clarinet fields. The following year, Harvey attended the I.C.A Clarinetfest convention in Salt
Lake City, where he conducted and narrated several concerts of his own works.14 Ian Haysted, a
9“Paul Harvey,” Clarinet and Saxophone Society. 10“Paul Harvey, Kes 46-52”. 11“Paul Harvey,” Clarinet and Saxophone Society. 12“Paul Harvey, Kes 46-52”. 13“Paul Harvey,” Clarinet and Saxophone Society. 14“Paul Harvey, Kes 46-52”.
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good friend of Harvey, was also present at the conference as a featured soloist. He performed
Harvey’s first performance of Salt Lake Symbiosis, with the Texas clarinet consort.15 Harvey
wrote an article after the I.C.A. conference with some discussion about the conference and the
performers. Harvey mentioned his positive experiences with the conference and wanted to return.
This article gave the British Clarinet and Saxophone Society magazine a feature of the important
experiences Harvey had at the conference.16 At the final concert, at the Mormon Tabernacle,
Harvey conducted an 80-member strong conference clarinet choir performing four of his own
works.
Paul Harvey’s 70th birthday celebration took place on June 2005 at the Barn Church in
Kew, a suburban district in London Borough of Richmond, organized by Ian Haysted and
Andrea Morris. On this special occasion, Harvey played, conducted, and narrated several of his
work. Many of his friends, pupils, and former students attended the celebration. Also that year,
he performed at the first World Bass Clarinet Convention in Rotterdam with around 149 bass
clarinetists from all over the world. To this present day, Harvey still composes and conducts new
works for clarinet and saxophone.17
Character Pieces
Paul Harvey has written a number of works which could be classified as characteristic
sounds. The character piece proved to be an excellent genre for writing for younger clarinet
players. His Pets: A Suite of 8 Pieces for Unaccompanied clarinet and Clarinet á la carte: A
menu for unaccompanied clarinet are two examples of characteristic pieces written for these
15Paul Harvey, “Salt Lake Seauel,” The Clarinet 31, no. 3 (2004): 60-62. 16Paul Harvey, “Dr. Plant’s Clarinet Party (Amateur Clarinetist Invites Friends to Play
Before Attending Proms Concerto of Clarinet Music),” The Clarinet 31, (2003): 88-90. 17“Paul Harvey, Kes 46-52”.
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younger players. Since they feature interesting sounds which depict animals and or sounds that a
meal might produce, young clarinetist find these compositions fun and entertaining to study and
perform. Other examples of character pieces written for junior and high school level students:
Satirical Suite (Irish Fanfare and March), Four Easy Trios (teaching balance), and Fantasia in
one movement for four clarinets (maintaining a four-part texture and blending). In addition to
composing character pieces, Harvey also wrote several pedagogy books, clarinet exams,
complete clarinet method books, and workbooks for younger players, including several beginner
jazz method books.
In Suite in Baroque Form, Harvey incorporates forms, characteristics, and features one
would find in typical dance suites during the Baroque era. This piece is great for younger players
to learn Baroque forms and style. During the Baroque era, suites made up of small movements
based on the various dance forms became very popular. Harvey wanted to depict these forms and
characteristics in his suite. Harvey’s Suite contains four dance movements: Prelude, Siciliana,
Minuet and Trio, and Gigue.
In the first movement, Prelude, uses a simple ternary form (ABA). The principle theme is
presented in the first eight measures of the A section as can be seen in example 1. This theme is
in C-major. The second theme is found in measure 9 after a transition with no modulation. The
principle theme returns to conclude the A section in measure 30.
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Example 1: Suite in Baroque Form-movement 1, first 8 measures.
The B section is often found in the relative minor key, and in this piece, this is the key of
a minor. Example 2 shows a direct modulation that occurs in measure 31 with a different
character. This section is cantabile with a more lyrical and smooth vocal-like quality. The B
section ends in measure 58 with a return of the A section material in the original key through a
direct modulation. Both themes from the opening section are present and the piece ends on a
small coda-like passage with the first theme stated then expanded to the end of the piece.
Example 2: Suite in Baroque Form-movement 1, measure 31.
The third movement is written in a minuet and trio form. The minuet and trio can be
described as either a compound ternary form or simple trio form. The minuet had an enormous
popularity in the 1650’s and was designed in a binary form with regular four measure phrases. A
typical minuet is considered a dance movement in triple meter (mostly ¾ time signature).
Example 3 shows the first 16 measures of Harvey’s minuet.
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Example 3: Suite in Baroque Form-movement 3, first 16 measures.
Like most baroque minuets, a trio section can be found after the minuet. A trio is in a
binary form like its counterpart the minuet. The section contains the same phrase lengths and
dynamic contrast as the minuet. The main change in a trio section is the modulation. The trio,
found in example 4, shows a direct modulation to the subdominant (C major) of the original key.
Example 4: Suite in Baroque Form-movement 3, first 16 measures of trio section.
A typical minuet and trio has a da capo ending. The trio section modulates back to G-
major and returns to the opening minuet without any repeats to conclude this movement.
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20th Century Tonal Melodic Style
Harvey’s compositional style is based on scales. He uses the whole-tone scale, pentatonic
scale, and diatonic scales as a basis for much of his melodic material resulting in interesting and
colorful writing that distinguishes himself from many other 20th Century composers.
In the first movement of the Sonata for clarinet and piano, Harvey uses the pentatonic
scale for the main melody, as seen in Example 5. This scale contains the pitches A, C, D, E, G,
and A. The pentatonic scale is the basis and provides a distinct color for the Allegro melody.
Example 5: Sonata-movement 1, measure 16, Allegro.
Harvey uses the whole-tone scale to connect the two main melodies together. One can see
a whole tone scale based on C connecting the opening two measure phrase with the next melody
(Example 6).
Example 6: Sonata-movement 1, measure 18.
Harvey also uses diatonic scales to connect melodic material, but does so over harmonies
in a different key. The effect of this is a temporary dissonance between the piano harmony and
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the clarinet melody. These passages then resolve back to a more consonant harmonic
environment with a new melody.
In example 7, a D-major scale is used as a transition between two phrases. This section
has a D-major scale in the solo clarinet part in measure 87 beginning on a G, with a C-major
chord in the piano accompaniment. The G is a common tone but the C major chord produces a
polytonal dissonance that then resolves on the next down beat.
Example 7: Sonata-movement 1, measures 80-89.
Melodic Improvisation Style
In many of Harvey’s compositions, he incorporates characteristics one might find in
improvised music. These characteristics are free flowing tempi and rubato, ornamented structural
pitches, irregular flowing rhythms and chord passages outlining harmonies, similar to what can
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be heard in improvised jazz solos. One piece that features this style is his Improvisation on
Martial Inversion. Example 8, one can see the first three of these characteristics. A melody is
presented in an expressive, slow and free tempo indication. In measures three and eight in this
example, one can see the low A natural is embellished by the first two sixteenth notes, and the
low E connecting the A-flat interval is embellished by the two triplet-sixteenth figures. When
looking at this example in general, on can see the irregular flowing rhythms which create a free
and improvised quality.
Example 8: Improvisation on Martial Inversion, first two lines on page 4.
In example 9, the use of outlined chords connected by a common pitch as the harmony
changes from measure to measure is an example of the music evoking the feel of a jazz chord
change texture in an improvised solo.
Example 9: Improvisation on Martial Inversion, last two lines on page 2.
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The effect of these techniques form an interesting and challenging piece that showcases a
performers virtuosity and creativity. This piece is clearly for a more advanced student or
professional clarinetist, as the technical demands are significant, and the improvised qualities
required a refined sense of artistry and musicianship.
American Jazz style
Another style often seen in Harvey’s music is the influence of jazz. The rhythmic
diversity and improvisatory nature of jazz inspired Harvey to write Three Etudes on Themes of
Gershwin.
George Gershwin was a renowned American composer and pianist who wrote
compositions in both popular and classical genres. His best-known orchestral compositions were
Rhapsody in Blue (1924) and An American in Paris (1928) as well as his opera Porgy and Bess
(1935). Gershwin was influenced by several composers during the early twentieth century
including Ravel and Debussy as well as American jazz music. He took the jazz idioms he
discovered in Tin Pan Alley and popular songs of the day and integrated them into his music
which combined popular and classical music elements. This created a new American style which
influenced composers such as Aaron Copland and Leonard Bernstein.18
Harvey composed three solo pieces based on Gershwin’s evergreens: “I Got Rhythm”,
“Summertime”, and “It Ain’t Necessarily So”. Each etude is idiomatically written for the clarinet
in a free fantasy fashion. With Gershwin as a basis for the melodic content, the technical
challenges are all well within the traditional clarinet writing and are enjoyable study material.19
18Charles Schwartz, Gershwin, his life and Music. (New York: New York: Da Capo
Press. 1973). 23. 19Ken Wilson, “Three etudes on Themes of Gershwin for Unaccompanied Clarinet,” The
Clarinet 4, no 1 (1976): 17.
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The first movement “I Got Rhythm” was dedicated to James Gillespie who is a professor
Emeritus of Music at the University of North Texas in Denton. Gillespie studied clarinet and
woodwinds from several renowned clarinet professors including Henry Gulick and Michell
Lurie.20 He has also been the editor of The Clarinet magazine for the past 30 years, which is a
quarterly journal devote to the International Clarinet Association.21
This movement is written at quarter-note equals 132. It begins with a cadenza-like
passage with high degrees of flexibility and virtuosity. This passage leads to a subito a tempo
section with a quote from Gershwin’s song followed by passage work that incorporate jazz
idioms from his musical style.22
In example 10, the rhythmic displacement and accent markings gives the passage after
the fermata a jazz feel. The three note groupings within the descending sixteenth note passage,
20“James Gillespie,” University of North Texas College of Music, accessed December 28,
2016, https://clarinet.music.unt.edu/james-gillespie. 21“James Gillespie,” International Clarinet Association, accessed December 29, 2016,
http://clarinet.org/james-gillespie/. 22James Rae, “Paul Harvey, Three Etudes on Themes of Gershwin for Solo Clarinet,” The
Clarinet 32, no. 2 (2005): 8.
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for example, creates a sense of swing that can be heard by the listener.
Example 10: 3 Etudes on Themes of Gershwin, subito a tempo section.
The second movement “Summertime” was dedicated to Herome Bunke a renown
clarinetist who was a scholarship student at Julliard School of Music. Bunke became the Director
of the Concerto Artists’ Guild of North America.23 The movement is subtitle ‘By Twickenham
Ferry’ because Dr. Bunke was a keen photographer and used slides of his photographs projected
on a screen during his recitals. That summer he stayed in Twickenham, near the ferry, and took
many photographs of swans on the Thames, which he used to add atmosphere to his
performances of this piece.24
23“Jerome Bunke,” World Clarinet Alliance, accessed December 28, 2016,
https://www.wka-clarinet.org/VIP-Bunke.htm. 24Paul Harvey, Three Etudes on Themes of Gershwin 1990 Edition, London: Emerson
Edition Ltd..
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Summertime is one of Gershwin’s well-known songs. Harvey’s version is written in 6/8
which creates a slow blues swing feel. A performer can be flexible within the tempo but it is
helpful to feel as if there was an “imaginary” rhythm section accompanying in the background.
Technically, this movement is not too difficult. The 16th note passages are used to seamlessly
connect the different melodic sections. A performer has many opportunities to create a feel of a
slow improvised blues style if they understand the style.25
The third movement “It Ain’t Necessarily So” was written first. The movement was
commissioned by Anton Weinberg as an encore piece for his recital at the Wigmore Hall recital
hall in London.26 Weinberg was an internationally renowned clarinetist that attended many
music festivals and was featured regularly on broadcasts for the BBC.27 Weingberg was very
specific in his thoughts regarding this piece. Harvey mentions:
“In October 1973, my friend Anton Weinberg was giving a recital in the Wigmore Hall. A few days before, he approached me with the thought that he felt his program needed a short surprise item to go before the last piece. He was quite specific in his conception of its form; he was fascinated by Gershwin’s tune “It Ain’t Necessarily So” and wanted a piece starting with a vague similarity to the second of the Stravinsky pieces, in which fragments of the tune were concealed, but the full tune should be held back until the end, when it should burst forth in a blatant, or even vulgar fashion.”28
This movement is marked at quarter-note equals 120. Harvey mentions in an interview
with Mark Walton that the performer can see and hear the title “It Ain’t Necessarily So” come
25James Rae, “Paul Harvey, Three Etudes,” 2005, 9. 26Paul Harvey, Three Etudes on Themes of Gershwin 1990 Edition. 27“Anton Weinberg Biography,” Anton Weinberg, accessed December 28, 2016,
http://www.antonweinberg.com /home.htm. 28James Gillespie, “The Clarinet Music of Paul Harvey,” The Clarinet 1, no. 3 (1974): 12.
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out in the music seen in example 11. The measure beginning the a tempo section outlines the
tune with the pitches C, G, F#, C, F-natural, E, C, and E-flat on the next measure. 29
Example 11: 3 Etudes on Themes of Gershwin, a tempo, page 3
Articulated chromaticism, improvisatory nature, and the use of rubato makes this
movement fun to play and a great crowd pleaser. No adaptation of a Gershwin would be without
a glissando. Harvey puts a one octave glissando to show off the clarinets abilities and to give the
piece a temporarily closer. This section reverts to the cadenza-like passage similar to the opening
material and ends movement with an ornamental ending.30
Summary
Paul Harvey’s music is influenced by a number of different musical styles. For music that
was composed for young students, he wrote character pieces that depicted everyday sounds and
experiences that young players could relate to and find fun and entertaining to play. Harvey’s
concert repertoire incorporates many aspects of different tonal systems as well as elements seen
29Mark Walton, Paul Harvey Talks About his Three Etudes on Themes of Gershwin,
Video Mark Walton, August 2015, Posted October 2015, YouTube. https://www.youtube.com/ watch?v=RE0tmiFMqnI.
30James Rae, “Paul Harvey, Three Etudes,” 2005, 10.
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in improvisational type genres. This repertoire has great variety and opportunities for advanced
players to express their virtuosity and artistry. The third major influence of musical style is the
connection to jazz and jazz idioms. With the high-quality compositions and the large number of
works written, Harvey’s music deserves more recognition and performances by players of all
levels and backgrounds.
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Performance Suggestion
Suit in Baroque Form
The first movement, Prelude, contains many elements of traditional baroque style, while
still being written in a 20th century style. This movement requires the performer to bring out the
character of the moving 16th note passages. Harvey does not insert any breathe marks; however,
a quick breath is needed at the end of measure 10 to help the performer maintain a steady flow of
the 16th-notes passage work. In measure 31, there is a modulation and change to a cantabile. The
cantabile is a contrast to the energy and character of the opening theme. This provides a young
player the opportunity to learn to execute contrasting material with in a piece. With the return of
the opening theme in measure 49, there are a few details which differ from the opening theme.
The third movement, Minuet and Trio, is a lively dance like movement similar to what
we would see in a Baroque suite during the 18th Century. This movement is in a fast quarter-note
at 144. To grasp the character of this movement, the performer should articulate the staccato
notes with separation. The performer needs to use their air properly to blow through the
articulation while still maintaining a light staccato character. Even while the air is flowing
continuously, the notes will feel slightly clipped but still feel they have adequate length so that
the articulation will still flow forward. For example, the first two measures of the movement,
after the pick-up, is marked as staccato. These notes need to have a separation of sound or a
“ping”like sound.
Another important aspect of this movement are the accents. The performer needs to play
all accents that are written but these notes should not have excessive attacks in the articulation
but should be more or less shaped by the air. For example, there are consecutive accent marks in
measures 26-28. The performer needs to show these accents without over-articulating the notes.
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20
21
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Sonata
The first movement of the Sonata has three main sections: Lento drammatico quarter =
80, Allegro quarter = 112, and Piu tranquillo. These sections present important suggestions that
should be addressed when performing this movement. The lento drammatico section beginnings
slowly and is characterized by dramatic ascending passages. In measure 5, the music starts
slowly, softly in a low tessitura. Harvey uses a four-note chromatic motive. He repeats this
motive 13 times with each reiteration he expands the musical content. He also indicates a
crescendo and accelerando over eleven measures. As the music accelerate, get louder and the
intervallic content expands, the resulting music creates a lot of dramatic tension. A performer
needs to use this material to create a dramatic effect to open the sonata.
The second section, Allegro, gives the first movement a change in style. The most
important aspect for the performer is the integrity of the rhythm. In measure 27, a performer
might first take out all ties and accents and practice the passages at slower tempos for accuracy.
When the material is mastered at this slower tempo, then the performer should add back the ties
and accents and gradually increase tempo incrementally. It is important as the tempo increases
that the performer gets of the syncopation quickly in order to prevent the tempo from dragging.
In measures 35-39, the rhythm of this phrase is complicated and to perform. The smooth and
connected character shows a different use of the syncopation. By grouping the 16th notes
forward, this helps to improve the flow of the passages.
The last section of the movement is Piu tranquillo. The affect of this is a drastic change
from the previous allegro. The music is performed in a more gentle and legato style. For
example, measures 40-48 are fully slurred passage that contains new and expressive material.
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This sustained style should be maintained until measure 62 when the character changes and
transition back into the allegro section, in measure 80.
An important section for the performer to rehearse is the rallentando section found in
measure 111. The main feature of this section is the diminuendo and the slowing of the tempo.
What the performer needs to be aware of is that they may run out of air before the low E in
measure 121. The performer can take two breathes one at the end measure 119 and another in
116 on beat two. This will help keep the last note at a reasonable dynamic and performer can still
sustain the last note to then end of the piece.
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25
26
27
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Improvisation on Martial Inversion
Harvey’s Improvisation on Martial Inversion is an expressive and dramatic piece. The
key feature found in this unaccompanied work is the free and improvised nature of the writing.
In the opening of the piece, breathe marks are used to show structure, but also to provide the
performer with an opportunity to be more creative and expressive. The lengths of the pauses that
these markings create can be varied so as to create an effect that the music is being improvised.
This continues up until the fermata before the giocoso on page 1 (see below). A breath mark
should be added after the fermata low E. The breath itself should be quick and in the new tempo
of the giocoso.
The giocoso section should be less rubato and performed more or less in a strict tempo.
The character of this material is the staccato and rhythmic energy of the theme. On top of page 2,
Harvey slurs the sixteenth passage into groups of 5. The tempo should stay steady here so the
effect of the five-note grouping can be heard by the listener.
After this passage, the speed of rhythm increases as Harvey emphasizes sixtuplets. These
sixtuplets connect the structural pitches of the large leaps. Initially, a performer could take a little
time, but when the sixtuplets are used in the descending run, there should be a strict beat. As the
music approaches the slow and expressive section, the rhythm is essentially a written out
ritardando, so the performer does not need to do very much to the tempo to set up the new
section.
The Expressive, slow and free section on the bottom of page 2, returns to freer and more
rubato material. The performer has many opportunities to be creative in the timing of the
phrases, lengths of rests, and fermata. With the large leaps, it is important the embouchure and
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voicing are stable and still to ensure an expressive connection and voicing throughout the
section.
On page 3, Harvey indicates a cadenza in the score. This may seem a bit unusual since
the piece is unaccompanied and free overall. However, this would indicate that the performer has
an opportunity to be creative.
With the return of the a tempo, the beat becomes more regular and established once
again. The large leaps can present some challenges to the performer. It is important to keep the
tongue high, and to have this voicing and embouchure very still and stable throughout this
section. This will insure even response and evenness of tone. The rest of the piece should be
played with a regular beat with very little rubato. The material used is similar to what has been
previously discussed, so the performer just needs to master the technique and basic phrasing
through the end of the piece.
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31
32
33
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3-Etudes on Themes of Gershwin In the first of the three etudes, I Got Rhythm, the performer should understand the style
and be familiar with the Gershwin song that this etude is based. Although this etude doesn’t use
swing, there are many instances where the rhythms approximate the style. For example, In the
descending gesture after the first fermata, the accents should not be overdone but can be brought
out by de-emphasizing the eight notes that follow each one. This will keep the sustained quality
of the line while introducing the jazz like feel of the music.
In general, the performer will need to phrase off the fermatas by starting slowly and
gradually accelerating, and then slowing down before the next fermata. The affect is that much
of this etude is to be performed like a cadenza. On page 2, after the caesura, there is a quote from
I Got Rhythm, and the music shifts to a strict beat style with swing-like rhythms and angular
syncopations. The performer needs to keep rhythmic integrity while navigating the difficult leaps
and technical demands. The accents and dynamics need to be clear and exaggerated for the
necessary effects to come across. With the next caesura on page 3, the music returns to its more
free flowing cadenza like style.
The second movement, Summertime, is a slow sustained movement. The challenge for
the performer is to maintain the 6/8 time feel while so much of the music is written in an implied
¾ time signature. Maintaining the 6/8 feel gives a gentle swing feel to the long and sustained
lines. Keeping the rhythmic integrity throughout the movement is important, because Harvey
creates new textures in introducing new subdivisions of the beat. In the 1990 edition of this
piece, Harvey introduces a multiphonics option for the performer near the end of the piece. After
the low E four measures from the end, the performer can uses their left thumb and open the B
trill key (2nd from the top) with the knuckle of your first finger (right hand). This gives a major
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third G-B. To raise the G to a G#, add the G# key with the knuckle of the left first finger.
Concentrate on pitching the lower notes and the B will sustain.
The third movement, It Ain’t Necessarily So, has some similar performance requirement
of the first movement. The opening page and a half involve fast passage work that lead to
fermata notes followed by jazz melodic gestures. The sixtuplets need to play evenly with long
sustained growth to each cadenza. In the first three lines of page 2, Harvey transitions the
material of the opening page to set up the more rhythmic and articulated section at the a tempo in
line 4. The embouchure needs to be kept steady with consistent voicing to accommodate the
expanding intervals in the slurred gestures.
Similar to the first etude, the a tempo to the end needs to be performed with a steady beat
and precise rhythms to generate the syncopated feel of the style. Exaggerating dynamics are also
important to give color and texture to the gestures. On the bottom of page 3, the opening material
returns. The performer should immediately adjust the style and play this with same feel as was
used at the beginning.
A stylistic feature of this movement one can explore in this etude are the glissandos. To
perform a glissando, slowly move your hands off the keys keeping a steady embouchure.
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Although the embouchure is relatively steady, the voicing in the mouth changes from an air
direction, that is flat, moving up to a normal tongue position. This effect is written in on the last
page at the end of the second line. The performer can add glissandos just before each triple
gesture after the large glissando. On the 3rd line the intervals from F-C gives a wonderful
glissando effect to the motion of the moving phrase. The quarter note triples. Found on the last
page fourth line, needs some embellishments added to show the dramatic ending then swiftly
changing the character back to a previous phrase from this movement then ding forcefully.
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Clarinet Works List
Unaccompanied Clarinet Clarinet A La Carte Pets- Suite of 8 Pieces 3 Etudes on Themes of Gershwin Improvisation on Martial Inversion 10 tunes for Kathy Dixie Pixie Rock ‘n Reel Clarinet and Piano Sonata 5 Figments Suite in Baroque Form Jazzy Clarinet Book 1 and 2 Teasing Tango Chamber Works All at Sea Duet for Oboe and Clarinet Satirical Suite for 2 Clarinet Ten for Two Volumes 1 and 2 (Easy Duets for Flute and Clarinet) Townson Suite Duet for 2 clarinets Four Easy Trios for 3 Clarinets Fantasia in One Movement for 4 B-flat Clarinets Quartet for 3 B-flat Clarinets and 1 Bass Clarinet Inter City Suite for 4 B-flat Clarinets Three Billy Goats Gruff for 4 B-flat Clarinets Music Medals Gold, Copper, and Silver for 4 B-flat Clarinet Quartetto Quarnatoli for 4 B-flat Clarinets Three Utterances in 3 Movements
(Hurangue, Soliloquy, Declamation) for 4 B-flat Clarinets Bubble ‘n’ Squeak and the Pig in Whistle For E-flat Clarinet and Contrabass Clarinet with quartet/piano Charlie is My Darling for 4 B-flat Clarinets Clarinet Studies The Complete Clarinet Player Book 1 and 2 Clarinet X 2 Book 1 and 2 Clarinet Exam Pieces 2014-2017 Grade 3 Free to Solo for Clarinet or Tenor Sax Clarinet Chamber and Solo Classics Volume 1 and 2 Clarinet Workbook
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Clarinet Choir Wind in the Reeds Clarinet Choir Classics Happijazz Jollipop El Torneo Dances of Atlantis 34 Individual or 12 whole clarinet choir warm-up Exercises A Young Persons Guide to the Clarinet Choir
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Bibliography “Anton Weinberg Biography.” Anton Weinberg. accessed December 28, 2016.
http://www.antonweinberg.com /home.htm. Gillespie, James. “The Clarinet Music of Paul Harvey.” The Clarinet 1, no. 3 (1974): 8-13. Harvey, Paul. “Dr. Plant’s Clarinet Party (Amateur Clarinetist Invites Friends to Play Before
Attending Proms Concerto of Clarinet Music).” The Clarinet 31 (2003): 88-90. Harvey, Paul. “Salt Lake Seauel.” The Clarinet 31, 3 (2004): 60-62. Harvey, Paul. Saxophone. London: Kahn & Averill, 1995. Harvey, Paul. “The Fredrick Thurston (1901-1953).” The Clarinet 29, no. 1 (2001): 34-36. Harvey, Paul. Three Etudes on Themes of Gershwin 1990 Edition London: Emerson Edition Ltd..
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School Musician: Director and Teacher 52, (April 1981): 32-33, 43. accessed July 17, 2016.
“James Gillespie.” International Clarinet Association. accessed December 29, 2016.
http://clarinet.org/james-gillespie/. “James Gillespie.” University of North Texas College of Music. accessed December 28, 2016.
https://clarinet.music.unt.edu/james-gillespie. “Jerome Bunke.” World Clarinet Alliance. accessed December 28, 2016. https://www.wka-
clarinet.org/VIP-Bunke. “Paul Harvey, Kes 46-52.” King Edward VII School, Sheffield. accessed July 15, 2016.
http://oldedwardians.org.uk/nlc/personal/PaulHarvey.htm. “Paul Harvey, KesMeg 1973.” King Edward VII School, Sheffield, accessed July 15, 2016.
http://oldedwardians.org.uk/nlc/mags/73.kesmag.html. Rae, James. “Paul Harvey, Three Etudes on Themes of Gershwin for Solo Clarinet.” The
Clarinet 32, no. 2 (2005): 6-10.
Randel, Don Michael. The Harvard Concise Dictionary of Music and Musicians. Cambridge, Mass.: Belk Press. (1999).
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Schwartz, Charles. Gershwin, his life and Music. New York: New York: Da Capo Press. (1973). 23.
Walton, Mark. Paul Harvey Talks About his Three Etudes on Themes of Gershwin. Video Mark
Walton. August 2015. Posted October 2015. YouTube. https://www.youtube.com/wa tch?v=RE0tmiFMqnI.
Wilson, Ken. “Three etudes on Themes of Gershwin for Unaccompanied Clarinet.” The Clarinet
4, no. 1 (1976):17.