Note: I use the Mel Warner version of the Rose 32 and the numbers of the etudes may be different than the regular rose books

Greg Smith Lesson:

~Articulation Etude (#10)

-Use less tongue on accented notes, no jazz pops (high A in m33)
-Less tongue in general on whole etude, think graceful but broad (should not be able to hear the tongue touch the reed)
-Tongue with a smaller section of the tongue. Keep it in the same place, slightly below the tip, but try to use only a small section, rather than moving the whole tongue and therefore changing the throat dimensions.

~Legato Etude (#19)

-Fluid finger movement is key! No rigidness, calming (bring fingers farther above the keys than you would normally do on a faster etude, and then let them fall gracefully on the keys. Don't plop your fingers down to where they actually make noise on the instrument).
-Less body movements/pulsing-throat and head movements don't help notes speak, it is all done inside the mouth and with the embouchure (save body movements for chamber groups and orchestral playing. Solos should have very little movement)
-Tone quality: try thinking of an "e" vowel as in "she", rather than the "ewe" syllable for a little darker, more focused sound.

~Mozart Concert (page 1)

-Connect all the notes, don't trail off (half note in the first measure of the clarinet solo -->) It greatly improves technique, as well as phrasing and interpretation.
-Light tongue articulations, like in the above etude (m69)
-Louder in general, make all piano a mezzo forte, mezzo forte to a forte, pretend like you are soloing in front of an orchestra-you need to project!

~Make sure to get recording of Robert Marcellus playing Mozart

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Melvin Warner Lesson:

~Legato Etude (#11)

-Subdivide the first long note in 8ths, to make sure that the quarters come in on time after the tie (m1-2)
-Build repeating patterns, or ones that have a tendency to naturally build upwards (arpeggios, scales, etc.)
-Know where you want every breath to be and how big it should be. You don't want to run out of air, or have too much at the end of a phrase.

~Articulation Etude (#12)

-Don't stop of any kind of mistake, even in practice it becomes a bad habit and eventually you keep stopping in the same place, even if you don't have a problem! Tell yourself you are going to play it all the way through. Also, it distorts your breathing pattern because most people unconsciously breath when they stop after a mistake
-Always use vented Bb fingerings, even in fast passages where you think it won't be noticeable, it makes a huge difference!
-Practice playing where you are in tune with the orchestra (pull out when you practice so you get used to the sounds you want to hear)
-Don't speed up near the end of a fast piece to give it more excitement: with most pieces you can already tell when the ending is coming up, it doesnt't have to be something extremely obvious
-If you have to take a breath in the middle of a running line, where there is no break, ritard slightly before taking a breath, and then take a few beats to back into tempo when you come back in
-Again, plan breaths in advance and stick to them!!

~Second Legato Etude (#13)

-First note, ust the F/C vent so it is less awkward then the F#/C# vent (please see my technique page on my website for vents descriptions)
-Count carefully (m3-4) 16th triplets to 16ths can be very tricky if you aren't subdividing 8ths in your head!
-Find the main theme and bring it out: it isn't always in its original form, look for variations on the theme; a different octave, played backwards, ornamentations, etc. (m1, m9, m33, m43)
-Note ratio at the end is 2:1, don't rush the 8ths that come after the 16ths, pull back a little bit and save some for the end

(my website: ww.angelfire.com/music6/clarinet1/home)