 The Clarinet BBoard
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Author: clarchick
Date: 2009-11-16 19:26
Oh my, learning the Variation de L'oiseau de feu.........woah......any tricks, suggestions, etc. on learning this bear? I am having particular trouble counting it through at the tempo marking quarter to 76. Thanks!
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Author: GBK
Date: 2009-11-16 20:05
Peter Hadcock's book has lots of helpful advice, including how to "fix" the controversial measure at one measure before #14.
...GBK
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Author: OmarHo
Date: 2009-11-17 00:13
There's a masterclass with Nuccio online from Northwestern where he helps a student out with the same excerpt:
http://www.pickstaiger.org/video-library
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Author: NBeaty
Date: 2009-11-17 00:30
This is an excerpt that getting "all the right notes at the right time" is an unreasonable request to do so for most players. The above comments are good places to go, besides your teacher. Decisions have to be made regarding half step v.s. whole step trills and such.
My only real advice without looking at the music is to record yourself on it many times once you have it in your fingers. Recording not only at performance tempo, but well under so you can hear the tendencies of each part that are exacerbated by increased tempo.
Good luck.
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Author: mikeyarbulu
Date: 2009-11-17 01:33
Definitely start slow, set your metronome to an eighth note pulse and make sure you're getting all the notes. There are a lot of fake fingerings you can use in certain places when you have to go over the altissimo break and back really quickly.
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Author: vin
Date: 2009-11-17 04:40
Start at 8th note equals 40 and make sure your rhythm is perfect. Move up one notch. Repeat.
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Author: mrn
Date: 2009-11-17 05:41
I just tried reading through some of this. Here are some fingering tips that may help you. Also, you may not want to use all of these, ultimately, but here goes:
At Box 11, overblow a chalumeau F# (LH index finger) for the altissimo C#. (It's more in tune if you can also press the register key, but if you need to for the sake of speed, you can leave the register key out)
3 bars before Box 12, overblow open G for the altissimo D,
use RT x o o | o x o for the A#
Next bar, overblow throat Ab for the D#
Box 12 (and 2 bars after), use the overblown F# fingering for altissimo C#; play the clarion C#s on the right
One bar before Box 13, use RT A o o o | o o o (so it's A key, thumb and register key) for D#, use side keys for C#, and LH sliver key for A#
Box 13, hold down LH F#/C# key (pinky) through the whole bar.
Box 17, use overblown open G for altissimo D; use RT x o o | x x o for altissimo G; use side keys for altissimo C#
2 bars after Box 17, use overblown F# for altissimo C#, play the altissimo F# as RT x x o | x x x (Ab/Eb)
There are probably other fingering tricks you can use, but this is what I tried and got to work for me. Practice these slowly to start, of course, but with practice, you should be able to use these fingerings to go really fast smoothly.
Post Edited (2009-11-17 16:58)
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Author: Ed Palanker
Date: 2009-11-18 01:17
Good advice, set your metronome to the 8th notes and work up the tempo. First though, mark in every beat with a slight mark so you know exactly where each of the 6 beats fall in every measure. ESP http://eddiesclarinet.com
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Author: rgames
Date: 2009-11-18 03:41
Here's my approach:
Rather than trying to hit *every* note I make certain I hit those on the strong beats and focus on maintaining tempo while giving the *impression* of the remainder of the notes.
I believe this excerpt is better played at tempo with the *impression* approach rather than under tempo with all notes present exactly as written.
Having said all that, I'll also say that I've done it in auditions but never in performance
rgames
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