Working on Clarinet Etudes (Lazarus)

(it was posted on NOTE on Jan 2024, and edited and translated into en)
The clarinet population across Japan is thought to be quite substantial, including those in wind bands and other club activities. However, what percentage of these players are currently taking or have previously taken private lessons? How about outside Japan?
For Those Who Have Never Taken Private Lessons
This series is especially aimed at those who are currently playing the clarinet but have never received professional instruction, or those who are struggling to improve on their own. We will proceed with the hope that you will find a teacher near you to refine your skills.
To "step up," it's important to develop not only technical skills but also musical aspects.
I believe that the clarinet has much more potential. To unlock this potential, I recommend building a solid foundation.
80 Graded Studies for Clarinet
The material we are using this time is「80 Graded Studies for Clarinet」

This Book 1 & Book 2, edited by John Davis and Paul Harris, is a collection of pieces carefully selected from various method books and etudes following the history of the clarinet, making it an ideal selection for learning 19th to 20th century styles.
Book 1 consists of 50 works for beginners to intermediate levels, while Book 2 comprises 30 works for intermediate to advanced levels.
Composers who are included in this book
The works included are excerpted from the following method books. Music university students may be familiar with some of these names. In terms of being a curated collection of these works, this could be considered an accessible teaching material.
Carl Baermann (1811-1885)
Frederic Berr (1794-1838)
Friedrich Demnitz(1845-1890)
Hyacinthe Klose (1808-1880)
Henry Lazarus (1815-1895)
Jean Xavier Lefevre (1763-1829)
Iwan Muller (1786-1854)
Cyrille Rose (1830-1903)
Robert Stark (1847-1922)
Amand Vanderhagen(1753-1822)
Ludwig Wiedemann (1856-1918)
No.15 Allegretto by Lazarus
Henry Lazarus (1815-1895)
Born in London, Lazarus was a clarinet player with exceptional skills representing this era. He was active in orchestras, served as a professor at the Royal Academy of Music, and left behind important method books.
Lazarus was active during the period when clarinets were transitioning from the Albert system to the Boehm system. It was a time of brilliant and remarkable development, with many renowned performers (virtuosos) flourishing.
With this historical background and the history of etudes in mind, we too can learn from Lazarus's works in the modern day.
No.15 Allegretto

It is composed of phrases of 4 or 8 measures.
While feeling the 3/4 rhythm of each measure, let's play with a broader flow.
When the phrase is ascending, send in the breath as if riding a wave.
Let's treat the end of phrases carefully.
For sections with staccato, make sure they're not too short to match the style of the piece. Be conscious of maintaining a dolce (soft) quality throughout the melody.
When playing the E♭ (E-flat) in the last line, the preceding C should be played with the left pinky instead of the usual right pinky. Pay attention to this fingering.
Hope it helps. Send me link to your playing! I'd love to hear it.
Contact here for trial lessons
Any questions and counseling, book here