Overview

This study is explicitly focussed on syncopation. We interpreted this as meaning more than fostering simple rhythmic understanding (something that Baermann otherwise pays little systematic attention to). Rather, syncopation here is taken as synonymous with written-out rubato. This interpretation of the meaning behind this study is supported by the fact that this is the only one of the 24 preparatory studies published with the clarinet part in the piano score.

This study raises various questions about phrasing. Baermann uses slurs within slurs, encouraging the student to pay attention to both small and large-scale phrasing and momentum in a legato context. Unlike previous studies, this piece demands breath control over long phrases. A more complex question is how to differentiate the three distinct scenarios presented by Baermann’s breathing indications: breaths in the middle of a long slur; slurs that end with a breath mark; and slurs that end without a breath mark (or rest). In each case, it was important to consider the character and direction of the surrounding phrases in order to shape and contextualise the breath in terms of its placement, timing and intrinsic character, with related scenarios in Baermann’s texted works (poetry settings and song arrangements) as a reference point.
 

Player's Guide: Key ideas to explore

• Breathing: Try playing the piece with breaths in the places that seem obvious to you. Then return to Baermann’s indications. To what extent is it possible to combine both structures into a more complex, multi-layered interpretation? Consider that breaths might be placed directly after the preceding note, or more as an upbeat to the following note, and characterised in relation to one or other if the mood is changing; that they can in themselves be given an emotional character (a gasp, a meaningful inhale preparing for a weighty utterance; the kind of intake that would precede a sigh, etc). Breaths that ‘interrupt’ a slur might in some cases be taken quicker or with more forward momentum, whereas ones that align with breaks in slur, particularly around cadential points, might be given much more space.
   
• Phrasing: Although this study is phrased in long lines, it is important to continue to find and shade the harmonic and melodic nuances and indeed show implicit phrasing in counterpoint with these. This can mean for instance leaning and/or lengthening on appogiaturas, showing the end of a sub-phrase through dynamic and tone, using rubato to shape the peaks of phrases (particularly in response to hairpins) and employing un-notated rits
   
• Rubato: Syncopation can be interpreted as a kind of written-out rubato against a (relatively) steady accompaniment. Try playing through this piece on the piano with the clarinet part in the right hand (as Baermann surely composed it), and experiment with playing melody notes early or late to their ‘proper’ place. Perhaps encourage your pianist to do the same before you experiment with incorporating this flexibility yourself! Robbing time from the before or after a note (or both) will tend to accent it and you will probably notice you are doing it in response to strong harmonies, dissonances, extremes of tesstura, etc.