Klarinet Archive - Posting 001445.txt from 1997/10

From: "Kilgore Trout" <satanspilgrims@-----.com>
Subj: Re: Can I catch up?
Date: Fri, 31 Oct 1997 20:44:37 -0500

>There were some suggestions made by members of the list to
>"practice until you die" in order to become an accomplished
>clarinetist. I realize that some of these comments were light-hearted,
>but it could be misinterpreted.
>
>Practicing is an essential component to becoming an accomplished
>clarinetist. Alas, practicing does not necessarily mean just sitting
>down and
>playing through long tones, scales, etudes, and literature for hours on
>end.
>I would like to suggest other ways to "practice":
>
>1. Go to as many concerts of professional MUSICIANS (not just
>clarinetists)
>and professional orchestras.
>
>2. Listen to as much music as possible, preferably with the score, if
>you are capable of
>reading along with scores.
>
>3. Take your music coursework seriously. Music theory, ear training,
>music history,
>liberal arts courses-these courses contribute to one's development as a
>musician.
>
>4. Learn about other arts-go to museums, attend plays, go to a poetry
>reading.
>
>5. Remember to enjoy life--your life experiences is part of who you
are
>and this
>is what you communicate (hopefully) to your audience.
>
>This list could go on forever. The number of hours spent in the
practice
>room
>becomes a sort of competition among students in college. (I know, I am
>living
>through it right now.) I think it would do many of us well to realize
>that it is QUALITY,
>not QUANTITY that matters.
>
>I welcome other suggestions of creative ways to develop one's
>musicianship. It could
>prove to be an interesting discussion.
>
>
>-Michelle Shoemaker
>-Graduate Diploma Candidate
>-New England Conservatory
>

I agree but I would also like to add that quantitive quality is another
way to look at it. Three hours of quality practice are better than one.
Many people practice only one thing at a time. They go through long
tones, focusing on a beautiful sound and intonation. Then they play
their scales and technical exercises but completely neglect tone, etc.
I remember reading an interview with Ricardo Morales. A question was
asked: "How do you find time to practice when you have to perform a four
hour opera every evening?" His answer was compound practicing, meaning,
practicing more than one thing at a time. For example, when you are
playing your scales don't just concentrate on your fingers, make sure
that you are playing with a beautiful tone even when you are playing
fast, practice tonguing with your scales, and maybe every now and then,
hold a note and check it with the tuner. Ricardo said that this was his
key to keeping in shape with little time to spare. I guess the main
idea is to at all times practice playing musically. Even if you are
playing the world's most boring tonguing exercise (langenus 22) you can
still make it musical.

KT

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