Klarinet Archive - Posting 000134.txt from 2001/11

From: "Stan Geidel" <sgeidel@-----.net>
Subj: Re: [kl] clarinetist's block
Date: Sat, 3 Nov 2001 09:21:32 -0500

Jess,

I've seen the phenomenon you describe and recall experiencing it myself many
times on and off over the years. Let me offer a few points for you
consideration.

First, you say you've started working on scales again, and in fact this is
one part of the plan that I was going recommend to you - going back to the
basics. However, I was concerned to note that you said <<Tonight I started
working scales again.>> In fact, the fundamentals of playing the instrument
should *always* be a part of your routine. Consult with your teacher and
develop a warmup routine consisting of warming up the fingers, the tongue,
the air stream, sustaining tones, matching tones, and articulating notes (a
different process than warming up the tongue!). Keep this basic warmup as
part of routine; don't abandon it, even if you feel good about your playing,
or more importantly, even if you get busy and have a lot of music to learn.
I still do a warmup routine every day, before I start practicing the music
for upcoming performances. It will pay you great dividends over the years.
Few things are as important as this.

Next, I would suggest that you expand your idea of what you consider to be
"educational" on the instrument. Most students attempt to educate
themselves on the instrument by practicing it. However, this is only part
of the process. If you have a wider educational focus, the other elements
of a complete educational process will help to sustain you through those
difficult and frustrating periods of instrumental growth.

What are these "other elements" of the educational process? First, there is
the process of listening to fine musicians, both on recordings and live in
concert. Listening should be a regular part of your musical growth, not
something that you do only occasionally and informally. Of course you want
to listen to fine clarinetists, but don't limit yourself to listening to
clarinestists only; listen to the great wind players on all the instruments.
Listen to great string players. Listen to great singers. When I was young,
my teacher encouraged me to study the singing of great singers like Dietrich
Fischer-Dieskau. This is tremendously rewarding and inspiring (I
know...sometimes it can be frustrating as well !).

I'm also saying to get involved not only in listening to fine musicians on a
regular basis, but to get involved in the *process* of listening. What is
the *process* of listening? Listening as educational study should not be
passive... it should be both an intellectual process and a subjective
process. If subjectively you decide you like, for an example, the way
Fischer-Dieskau sings a phrase, stop and ask yourself why it sounds so good
to you. What exactly is he doing that makes the phrase so attractive to
you? Answer the question as specifically as you can... what are the musical
inflections that occur that really make the phrase work? Can you then begin
to incorporate what you have observed into your own playing? This kind of
study will help bring you past the daily frustrations of learning the
instrument and thrust you directly into the musical realm.

As I said before, do this kind of work with wind players you admire, great
singers, great string players... you'll find that your own musical
imagination will be inspired as you closely investigate the musicianship of
others.

Another process to get involved in is the idea of performing as frequently
as possible. Many students perform very, very infrequently. Try to create
as many performance opportunities for yourself as possible. Performances
are essential because they force us to prepare, regardless of whether we
feel inspired or not. Try to get involved in two or three solo or chamber
music performances every semester if you are not already doing so. If these
opportunities do not present themselves to you, *create* them for yourself.
Get in the habit of performing for others in a way that puts you "on the
spot" as much as possible. Don't hide in the practice room.

Practice the basics; study the work of fine musicians; perform as much as
possible. This creates a full world of musical study for yourself. You may
continue to experience the natural ups and downs of emotional frustration,
but a full, busy life of varied musical and instrumental study will keep you
progressing.

Stan Geidel
___________________
Dr. Stanley Geidel
Editor and Publisher
THE ONLINE CLARINET RESOURCE
www.ocr.sneezy.org

----- Original Message -----
From: "jess crawford" <akane12@-----.net>
Subject: [kl] clarinetist's block

> Hi all--
> I'm experiencing an interesting phenomenon that I know is altogether
normal
> but still frustrating: I have hit a plateau and I appear to be stuck. I am
a
> college student, a junior, and my sophomore year was a huge year for me as
a
> musician-- there was just so much growth! and now. .. well, I feel as
though
> I practice more than ever and yet all I'm doing is learning the etudes and
> the music and all the technical stuff but I'm not GROWING, I'm just
learning
> notes and it isn't doing me much good. Does anyone have any advice to give
> me about breaking out of this rut? Tonight I started working scales again,
> drilling myself on my staccato and trying to get a nice crisp articulation
> at a good tempo. It felt good, but what else can I do? I'm sure there are
> other exercises that can be done, other things that can *always* be
improved
> upon.
> (on a good note, and thanks to some advice from this list: I can now
flutter
> tongue! [there was much rejoicing!]. Vier Stucke, here I come!)
>
> thanks! :)
> -- jess
>
>
>
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>
>

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