Kling 35 (Etude #1)
Dotted quarter = 54-66 bpm
Larghetto: fairly slow; faster than largo, but slower than adagio
Use the dynamic and hairpin markings to your advantage. Start at a comfortable piano dynamic, then expand into the high Bb in measure 2. Balance the accents and staccato markings on the descending eighth notes in measures 2 and 4, so that they are clear and separated, but not heavy. Provide gentle breath accents on the first notes of the sixteenth figures in measure 7. Don’t shy away from the hairpins in measures 9 and 10–your air-stream should match the shape of these lines. Start measure 11 at a piano dynamic in order to grow into measure 12–lots of support required here! Contrast the light staccato sixteenths in measure 13 with longer accents. Don’t linger too long on the fermata of that same measure. The trill in measure 14 could be somewhat free, but still rhythmic. Play this trill as a lip-trill using the 1st valve on the F horn–this will take some practice for most young players.
‘Toss-off’ the thirty-second pickup into measure 15–it’s only a lead-in to more important material. Again, not too heavy on the descending accented notes in measures 16 and 18. As before, apply a gentle push to the accents in measure 21. Make the grace notes in measure 24 noble and conclusive–not too fast. Convey a feeling of finality in the last bar.
Kling 34 (Etude #2)
Quarter = 60-72 bpm
Andante: moderately slow; ‘walking tempo’
Smoothness and phrasing are the keys to this etude. Regarding tone quality, imagine a Cello or an operatic Tenor. Observe all printed hairpins, and add your own hairpins in measures 1-2, 5-6 and 9-10. Sustaining through the longer notes in the middle of these phrases is critical to the shape and life of this music. You may need to experiment with a lower embouchure setting for the pedal notes–of which there are quite a few. Start softly on the first diminished arpeggio in measure 13, allowing plenty of room or growth and direction throughout the following bar.
Create a contrast in this new dolce section–a new, sweeter color? Softer, maybe? Something to set it apart from what came before. Slur the turns in measure 19. Toss them off, and be sure not to drag. Don’t let the phrase relax until the sextuplets in measure 20. Play noble grace notes in measure 22, and relish the long, sinewy phrase in measures 23-24. In the penultimate measure, don’t observe the ritardando to soon. Saving it for the final triplet can be both musically effective and technically efficient. Hold the low G in the final measure as long as possible–this can will make a great lasting impression!
Kling 40 (Etude #3)
Dotted quarter = 54-72 bpm
poco a poco cresc.: growing louder little by little
Start this waltz at a comfortable piano dynamic. Think ultra smooth and sustained, but also carefree, and with a slight lilt. Accents are a gentle push and should not be overstated. Slurred eighth-note groupings in measures 20-21 and 28-30 should have a lyrical direction, with no hit of a clipped second note. By contrast, the staccato arpeggio in measure 31 should be bouncy and angular. Enjoy the contours ad hairpins in measures 33-48–have some fun.
This section is resolute and more direct in nature. Accents can carry more wright, and staccatos should be nice and crisp. Don’t be afraid to experiment with some alternate fingerings for the arpeggios in measures 55 and 63–Bb hon is your friend here. Be sure to observe the piano dynamic marking at measure 65, making plenty of room for the ensuing crescendo. It may be permissible to take some time with the pickup into the recap at measure 74, but use good judgement.
Apply the same musical approach as in the first bars. At the staccato passage beginning at measure 88, careful to stay in time, while allowing the music to drive forward purposefully. Strive to play the upper octave in measure 95-97, and the pedal Ab in the final measure–finish strong and decisively!