Klarinet Archive - Posting 000316.txt from 2002/01

From: "Robert" <LetsReason@-----.com>
Subj: [kl] Various Responses
Date: Sat, 12 Jan 2002 13:00:59 -0500

>From Mark C: <<Why would you think that anyone would play it on anything
_except_ an A clarinet at an audition of this importance? All auditions I've
ever heard it played at ( including High School solo & ensemble festivals)
require it to be played on an A.>>

One...it is a "Band" audition. The VAST, VAST majority of music is
overwhelmingly Bb clarinet parts, particularly for section players.

Two...I do not see the relevance of A over Bb in a band audition (besides
the above reason) since the original was not for EITHER instrument. It
would make more since to me to choose a solo from the Pines of Rome or other
transcription for band where the excerpt was actually written for A clarinet
in the part to be played in the band.

Third...the only mention, and there was a mention of this, was that "all
excerpts are for Bb clarinet". There was no other mention of requirement
for Bb or A or C triple sharp clarinet. I have NEVER been to ANY audition
where you play the entire concerto listed for the audition unless it was a
Concerto Competition or something of that nature. This audition, as with my
other experiences, called for the exposition of the 1st mvt of the Mozart.

In any case, I had my A, played it on my A and it went well on the A.
(Though I would have preferred to play on my Bb since that was in my "crawl"
yesterday.)

>From Tom Puwalski: <<In the year I was in on the Field band auditions the
number one reason people didn't make the finals or got the job was
articulation. There seems to be a general lack of teaching a "clean"
staccato let alone one that's fast enough.>>

This is a pet peeve of mine when listening to players or when judging
auditions. It seems to be one of the last things mastered in many players
that I have seen or met. In fact, the flute player (a grad student) in my
trio from last semester had spent the better part of one evening crying and
talking with me about how she can learn to first HEAR the differences in the
articulation styles and then actually practice doing them effectively.
CMSgt Danny Phipps (a bassoon student of Moyse [the flute pedagogue]) of the
Air Force Band was our coach and had ridden her on having no concept that
she was not doing much with her articulations.

I have spent many hours and LOTSo' repetition on articulation. I'm glad to
hear from others out there that it IS recognized by higher level players as
a very important aspect of auditions. It may support my notion that they
almost let me move on despite my sloppy section of the Lincolnshire Posy.

Thanks for the input.

>From Oliver Seeley: <<Thanks for sharing your experience with us Robert.
When our daughter....I guess it comes with experience....a two month
contract with Universal Studios, Osaka. Auditions and the inevitable
rejections have become almost routine, but she gets enough acceptances to
keep her happy.>>

Congrats to you and your daughter. That is wonderful news. I have been
fortunate to have mostly success with my auditions in the past, but the
rejections I have gotten (primarily Cleveland and this Marine Band audition)
have been very enlightening and humbling. Both times I was clearly
outclassed in some way by the winner(s). I'm fortunate that I have
something that makes me still want to work. If I can't do that...I will.
That kind of attitude. Right now, I am concerned with the certain feeling
or impression that I received from their playing and I want to be able to
give that same feeling to others that listen to me. I'm not sure how to
describe it, but it comes across as "there is nothing this guy can't play"
and I really didn't even hear him play much!

>From Sgt. David Blumberg: <<Robert - if you are only practicing in audition
mode for 1 1/2 hours, then you are basically wasting your time. That simply
isn't long enough!!!!! If you want it badly enough, then you will work hard
enough to make it happen, or at least you will know that you gave it your
best shot. 1 1/2 hours daily is not a best shot. That is my Drill-Sergeant
/smack in the head for you.>>

Ah yes, Sir! I realize that, sir! Particularly now, I realize that more
than ever, sir! I guess things have been too easy for me recently, sir. I
fell into the trap of doing a half-assed job because I had been successful
doing that here, sir! It won't happen again, sir! ;-)

Already, yesterday I practiced 2 hours on scales (and relevant exercises)
and reading through rep for the Air Force audition this Friday. This
morning I practiced for 40 minutes on scales again, trying to get them down
by name, from memory when requested. I will spend another 3 hours this
evening after my 5 hour Classical Music History class with Dr. Phipps is
over.

Thanks for the slap in the head, sir!

Robert

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