 The Clarinet BBoard
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Author: yucheng
Date: 2010-11-09 01:27
Ok so I'm trying to play the Shaw Concerto. It's a great piece.
Technically it's not so hard BUT
I'm not as close as good jazz as I am classically.
So how do you suggest I play the smears/gliss/slides notably in the beginning of the piece (High G down to C) and at the end? (Octave smear from G5 to G6[lol])
on the G6 down to C6, the smear seems impossible to me, I can't bend the pitch even a quartertone down. Could it be because of my reed? 3 1/2 V12? Should I get a lower strength?
I can't even attempt the other smear, it's just ridiculous. Can someone outline just how to even begin to practice that one?
Also, can you suggest a simple smear exercise that I can practice to get down this smear stuff? To be honest, I can't even play the solo in Rhapsody in Blue. But smears seem very hard, even on high C6, I can only bend down to just around a B flat...
Outline to me what my problem is.
Thank you very much!
I am not a beginner although I have much to learn. I've participated in many All-State festivals, All-County, honors ensembles, etc.
Thanks again~!
please don't tell me to search this site, this is a very outdated site and the search function is very very anachronistic.
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Author: Paul Aviles
Date: 2010-11-09 10:12
The downward smear invovles putting fingers down as well. So you just have to play around with finger vs smear.
The last gliss is difficult but it is done using the overblown High G that is fingered like your third space clarion C. From there you just kinda sorta smear up with the finger coordination thingy from above.
It takes some practice.
..............Paul Aviles
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Author: William
Date: 2010-11-09 15:20
If you can produce a vibrato, you can do a gliss. A good note to start on is C6--arch the back of your tongue, loosen your embouchure and bend the note as low as you can and then back up again. Next time, bend it lower, and so on until you really start to irritate the neighborhood. Now your ready for Artie.
G6 to C6--I gradually arch the back of my tongue, loosen my embouchure (don't worry about your sound) and slowly change from the TR X0X XX0 fingering to the TR 000 000 as the pitch drops into place.
G5 to G6--I gradually pick up my left hand fingers and loosen my embouchure, arch my tongue and try to keep the pitch lower than my fingering. Ex--keep the G sound while you lift your fingering to A. As you go higher and higher, stay fingering one note ahead of your sound until you reach the G6. I kind of "ghost" finger from C#6 to G6, a rather sloppy chromatic scale. I find this gliss rather easy to do--the "big secrete" is simply fingering ahead of the sound all the way up.
For the final C7, I like to hold the preceeding G6 for a while, making the audience think that I just don't have the strength left to go any higher. And then, play chromatically up to the C7 using all the trad fingerings. Again, a smooth gliss between these notes is easily done, but I just prefer the chromatics.
This is a great audience pleasing solo that I have performed over seven times with various bands. Resist the urge to play the "boogie" too fast and take your time with all the cadenzas. Have fun.
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