Music

some interpretative possibilities. Performance instructions, such as boppy, steady funk tempo and lively swing feel and rhythmic instructions (quaverquaver equals crotchet-quaver triplet) also help locate particular studies within an appropriate stylistic framework, such as blues, swing and ballad styles. Rhythmic and dynamic nuances associated with swing and blues phrasing, however, would require some teacher direction. Those readers acquainted with Rae’s 20 Modern Studies for Solo Saxophone (1989) will notice some familiar material in this volume. Indeed, eight of the saxophone studies have been included in this publication. These particular studies have not been transcribed for clarinet. Consequently, the change of instrument affords the intermediate clarinet student challenging material insofar as technique and rhythmic control are concerned. In particular, rapid passages over the break and the need for alternative (chromatic) fingerings in technically difficult passages highlight some of the awkward technique encountered in clarinet playing. Appropriately, such studies are situated towards the end of this graded collection. 40 Nlodern Studies can serve as a useful introduction to jazz and rock rhythms and phrasing. Indeed, many rhythms and phrasings would be familiar to the student through their own exposure to such musical genres. The series of graded technical exercises will also aid the development of clarinet technique and rhythmic control. This collection of studies would be of most use to the intermediate to advanced student.