Klarinet Archive - Posting 000821.txt from 1998/11

From: CmdrHerel@-----.com
Subj: Re: [kl] Copland Concerto - mm 426 - 429
Date: Sat, 21 Nov 1998 13:35:21 -0500

In a message dated 11/20/98 2:03:49 PM Eastern Standard Time,
ebray@-----.edu writes:

<< I am working on the Copland Concerto for a recital in March. Most of it is
going well except for that *=?!# run near the end! The one that stars on
high G# and goes down and then winds up on B-G# sixteenth notes--do you
know the one I mean? Right now I am using side B-flat on the ascending
run because I just can't seem to get the one-and-one B-flat coordinated,
even though the run looks as though it would facilitate one-and-one. >>

I prefer 1/1 for the ascending part. To help the coordination, try punching
the following B downbeat a tad (with air) when you land on it. I also use an
overblown Eb for the first G#.

Also, to help work out coordination, these three measures are a GREAT place to
use articulation patterns. That is, slow your metronome down significantly
(to like 80-96ish - whatever's comfortable) and practice the whole passage and
sections of it with slur two, tongue two for each group of four sixteenth
notes. When that is PERFECT, then do the same thing with tongue one, slur
two, tongue one. When THAT is perfect, do tongue two, slur two, and so on.
Never turn the metronome off and don't push the tempo until it is absolutely
comfortable to do so. (And goodness, don't try to do this at the final tempo
- it's not necessary.) Do this for a few days and that there run will start
to work itself out wonderfully. You'll be able to go right through it at
tempo most likely. If not, then get back in the saddle and keep working the
articulations.

Along this same method, many like to practice with rhythm variations. They
both will show up isolated timing-coordination problems and allow your brain
to fix them.

For sixteenth note passages, the articulation patterns I like to use are (in
the order I use, but I doubt that's very important. I do try to save the
easiest ones for last):

slur two, tongue two
tongue one, slur two, tongue one
tongue two, slur two
slur three, tongue one
tongue one, slur three
slur two, slur two
all tongued
all slurred.

It's actually a lot of fun and keeps your brain active while you 'shed a hard
passage.

Teri Herel

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