Clarinetum

This edition consists of 15 progressive studies and 6 concert studies by Gregor Kovačič.  The composer includes brief practice instructions before each study, and indicates that the concert studies are also suitable for performance on the stage.  Both sets of studies are challenging, regularly employing the altissimo register, wide leaps, and few rests.  In the preface, Kovačič encourages players to start the exercises very slowly and intentionally, breaking the material down into parts for shorter practice periods.

The 15 progressive studies focus on the following concepts:

1. Flowing, slurred arpeggios, interspersed with scale fragments and high leaps
2. Large slurred intervals, legato articulation
3. Pinky finger emphasis
4. á Kalmen Opperman: hand position, especially during transition between registers
5. constant quintuplet-sixteenths, homogeneous tone across registers
6. á Pyotr Ilyich Tchaikovsky: waltz style, left hand emphasis, wrist stillness
7. articulation variety, light staccato
8. articulation variety, wide articulated leaps
9. á George Frideric Handel: Baroque style, smooth transitions between chalumeau and clarion registers
10. arpeggios mixed with scales, including chromatic, sextuplet-sixteenths
11. slurred and articulated large leaps,. uncomfortable fingerings, light staccato
12. á Wolfgang Amadeus Mozart: Classical style
13. chromatic scale
14. á Dmitri Shostakovich: staccato articulation, "Shostakovich style," mixed meter
15. constant sextuplet-sixteenths, chromatic scale emphasis, large articulated leaps

Progressive Studies Quick facts
Length: average exercise length = 1–2 pages
Range: highest pitch = written A6 (optional B♭6)
Key signature: no ♯/♭, 1♯, 3♯, 4♯, 1♭, 2♭, 3♭
Time signature: 2/4, 3/4, 4/4, 3/8

Each of the 6 concert studies (and a few of the progressive studies as well) is dedicated to a specific musician and is named after their birthplace, listed below:

1. Eisenach: á Johann Sebastian Bach
   Baroque style, approach sound of string instruments' articulation
2. Veliki Trn: á Albin Rudan
   Slovenian folk style, Polka dance form, precise articulation
3. Oranienbaum: á Igor Stravinsky
   Mixed meter with subtle waltz framework, surprising leaps and accents, consistent articulation
4. Studenice: á Srečko Kovačič
   Perpetuum mobile, breath and finger movement control
5. Omaha: á Richard Stoltzman
   Perpetuum mobile, breath and finger movement control, brief atonal harmony section
6. Chicago: á Benny Goodman
   Swing jazz style

Concert Studies Quick facts
Length: average length = 2–3 pages
Range: highest pitch = written A6
Key signature: no ♯/♭, 1♯, 1♭, 2♭
Time signature: 2/4, 4/4, 2/8, 3/8, 5/8, 3/16, 5/16, 7/16

Kovačič also includes a page of suggested articulation and rhythmic patterns to add variety to technical practice.  As the composer states in the preface, articulation provides means of pronunciation, and a range of different articulation offers ease and clarity of expression.  

All of the text is presented in German, English, and Slovenian.