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Klarinet Archive - Posting 000055.txt from 2004/08

From: Lauren Peterson <>
Subj: Re: [kl] Audition Excerpt Issues
Date: Tue, 3 Aug 2004 12:23:55 -0400

Thanx for your advice! I can't wait to start implementing them into my

--On Tuesday, August 03, 2004 1:24 PM +0100 Tony Pay <>

> --- Lauren Peterson <> wrote:
> > Within that bar, there is a part that oscillates between a B natural
> > and an A# (middle register), then goes from a B natural to a C#
> > (altissimo) before going up to a D natural and oscillating between it
> > and the C#.
> >
> > Perhaps all that description is question is, is there
> > a good, clean C# that would be appropriate for that kind of line? I've
> > experimented with different A# fingerings and different C# fingerings,
> > and have had no luck finding something that works.
> If you mean, B/A# 'over the break' and then C#/D above the next break, I
> think the standard fingerings are the best.
> This post might or might not be useful to you:
> ...and there's another one, about making little exercises out of such
> passages:
> > My next question is with the Brahms "Variations on a Theme of Haydn",
> > Variation 5. There are a lot of "brick wall" dynamic changes (very
> > similar to those you might find in all the Beethoven excerpts), and
> > I'm just wondering if there are any words of wisdom (exercises,
> > warm-ups, techniques, etc.) that might be helpful in rehearsing these
> > segments? I am looking for some new ways of practicing that might help
> > shed some light on how to execute these dynamics more easily.
> I *think* you're talking about having to play more quietly, suddenly. Is
> that it? If so, the technique involved is 'support', which means, very
> roughly, 'blowing louder than you play'. A detailed description of how I
> personally think about the matter can be found at:
> Another wrinkle that I think it's useful to understand about such
> passages is that even if you have to drop suddenly to a lower dynamic,
> it's often true that the *very end* of the phrase just before is
> *lightening*. So for example, in Beethoven 8, Trio, first half, last 3
> bars: the first bar is the end of an ongoing crescendo, and the last two
> bars are piano. But it would be a coarse player indeed who sustained the
> final F# strongly to the barline. (The F# is in fact the resolution of
> the appoggiatura E, and so must be 'coming away', even though there's an
> overall crescendo.) Therefore, with at any rate the very end of that F#
> 'quiet', it's possible to begin again, with another F#, *louder* than the
> end of the previous one, but still piano.
> Some people think that you're chickening out to do this. But it's
> possible to do it in such a way that you don't minimise the shock of
> Beethoven's writing, but still make the beginning of the final two bars
> audible and stylish. After all, it's no good if it doesn't 'work'.
> (So, to the accusation of 'chickening out' I say: driving over the cliff
> ain't winning!-)
> Tony
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Lauren Peterson
University of Michigan
Clarinet Performance & Music Education

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