 The Clarinet BBoard
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Author: Lisa
Date: 2003-12-05 02:51
I'm frustrated. I was at a dress rehearsal that was in a different location than the previous rehearsals, and got really distracted playing in the new accoustic surroundings (cavernous church).
I also tried the suggestion I read here about being a soloist. The children's choir I'm accompanying with a pianist is really good, and I turned to watch them during my long rests. The fact that they're children and fidget like children amused and distracted me, and I don't want to let that happen again (ie, during the performances).
The fact that I was also trying to control my tone in the altissimo register wasn't helping my efforts either. I love the reed I currently have as my "concert reed" and I didn't want my tone to overpower the sound of the children's choir. So I tried to play softly with good breath support in the altissimo register. I guess I don't practice doing that enough, since it felt really awkward to me.
I guess I DO get another chance, two in fact. It just gets me that I didn't have the concentration to play like I've been practicing at home. Any ideas on the following would be greatly appreciated:
1. Would it look stupid/unprofessional if I stare at my music during long rests so the kids don't distract me and I can actually concentrate on what I'm there to do? I was originally going for a relaxed demeanor since I'm playing with children, but I don't think I can pull it off if I make the kinds of mistakes I did tonight.
2. What should I do to help my playing in the altissimo register sound full when I'm really trying to play softly? I certainly can fill that church with my tone during the solo passages, but I want that same full tone while playing softer. Is there anything else I should remember than keeping my throat as open as possible?
3. This is a huge topic, but how do you immediately mentally bounce back from a stupid mistake during a performance (besides playing perfectly)? I'm not really good at it when I'm playing solo, but I'm fine within a group, since I feel more comfortable in a section than alone.
Many thanks!
Post Edited (2003-12-05 02:53)
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Author: Alyra
Date: 2003-12-05 03:20
Personally I wouldn't see anthing wrong with looking at your music while you are resting.
I'm sure you did very well, and you'll be better next time!
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Author: sfalexi
Date: 2003-12-05 03:50
Here's my advice (take it for what it's worth . . . )
1) I see nothing wrong with staring at your music. Whether it looks unproffesional or not, well, we don't go to concerts for how people "look", but rather how they sound. So if it helps to make sure you'll hit your entrances at the right moment, that's what matters. I personally will do everything including count on my fingers as the rests go by to make sure I don't miscount in my head.
2) As for the altissimo, sometimes it helps when I halfhole it. Meaning instead of pulling off the index finger completely, you slide it to leave half the tone hole uncovered. It really helps me when trying to play softly and/or making the transition (slurred usually) from clarion to altissimo register. You may want to experiment with that.
3) Bouncing back from a stupid mistake . . . that's a hard one. Especially if it's noticeably yours such as in a solo or chamber ensemble position. One thing I do is recognize that a piece is usually in different "sections". So if I mess up in a certain arpeggiated run, I look ahead and say, "well, I messed up. But I know I can do the next part perfectly." It sorta helps me to prove to myself that my mistake was a fluke.
I mean, anyone can mess up, and lots of people do. You're not alone. My own instructor, a GREAT clarinet player had a little trouble with one run today in the dress rehearsal of Mozart's Clarinet Concert. But he continued on unphased. And that's what matters. The show goes on.
Alexi
Retired, playing more sax than clarinet, but still playing clarinet and still loving it!
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Author: Ken Shaw ★2017
Date: 2003-12-05 13:42
Lisa -
On bouncing back from any mistake, remember that you are part of the larger ensemble -- you, the choir and the pianist. After all, the audience is there to listen to the choir, not you, or at least not you exclusively. You're as much part of the ensemble there as you are in a clarinet section.
Put another way, you, the choir and the pianist are equals. You support them, but they support you, too.
Best regards.
Ken Shaw
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Author: BobD
Date: 2003-12-05 15:03
I doubt that the kids noticed anything other than that you acknowledged them and that made them feel good.
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Author: Katrina
Date: 2003-12-05 16:08
You asked:
2. What should I do to help my playing in the altissimo register sound full when I'm really trying to play softly? I certainly can fill that church with my tone during the solo passages, but I want that same full tone while playing softer. Is there anything else I should remember than keeping my throat as open as possible?
I answer:
Ultimately abdominal air support will help ANY note sound better when playing soft. Or when playing loud. Make sure you are using your abdominal muscles by pushing OUT (I know it's counter-intuitive but it works).
Katrina
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Author: Lisa
Date: 2003-12-05 20:20
Thank you very much for all of your suggestions about focusing, breathing, half-holed index finger, and concept of ensemble playing regardless of instrument (includes voice).
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Author: paulwl
Date: 2003-12-06 14:46
Maybe concentration is one of those things that you can't really teach. Except perhaps by harsh methods. (I myself have ADD, so I'm kind of sensitive on this topic.)
Sigurd Rascher, the saxophonist, used to do it by reading a book an hour before bed. Every time his mind wandered, he would go right back to the beginning and read an hour from there. Not recommended unless one of your goals is sleep deprivation training...
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Author: Lisa
Date: 2003-12-07 03:51
:) One performance down, one to go!
Paul, I have reason to believe that I also have ADD, even though it's never been diagnosed. I took your illustration to heart when I practiced today. Instead of stopping to fix every problem with articulations, phrasing, no-brainer slip of the fingers, etc., I JUST KEPT ON PLAYING as if it were the actual performance. Now, I know to do this occasionally, but I can tell you I hadn't taken the time to practice that way on these pieces. I just willed myself to "let it go" and keep playing, reminding myself that every phrase is a new beginning, like sfalexi said above.
Guess what? It worked! I was able stay relatively calm and just let the music happen tonight. I don't even think I made any mistakes. (Granted, it was only 2 songs, but the moral of the story is that I played so much better during the performance than the dress rehearsal.)
And concentration? I don't know how I did it, but I did it! At one point, I had two of the littler girls staring right at me (during a song) for what seemed like eternity. I remember thinking that I should nicely tell them afterwards not to do that, but hey, when is the next time that those seven year olds will have the opportunity to be that close to a clarinet player during a performance??? All this ran through my head in about 5 seconds--these kids were really interested in what I was doing, and I didn't let it distract me like I could have let it!
Another good thing about this gig is that I learned the fingering for closed F# (altissimo). I've known closed F since I was in high school, but never had a reason to look up the F#. It feels/sounds so much better than the standard middle finger only.
This isn't a recording of me, but I really tried to sound like this: (Scroll down to "Torah Orah" and then click listen to a short excerpt.)
http://www.sbmp.com/ListeningRoom/TRoom.html
Sorry to make this sound like Lisa's online diary, buit I wanted to say that I only had one chance today and made the most of it.
Post Edited (2003-12-07 03:55)
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Author: Lisa
Date: 2003-12-08 04:48
OK, I'm now off my high horse and got a jolt of reality at today's repeart performance. Live and learn, right?
This isn't an excuse, but I'd just come from another performance, and my chops were feeling tired. By the end of the first piece (the easy one) I knew that "concert reed #2" (that'd I just used on the concert) was a little too hard for my worn out chops. It actually played a bit better than the reed I'd used yesterday. (I prefer to rotate between 4-5 reeds so I don't get hooked on a good one, then have no others to fall back on when it wears out.)
So I began to have the telltale air escaping from the corners of my mouth. (The recording mic was above me. Could that be heard on the recording?) I had a tacet song to rest, and I was refueled and ready to go for the fun klezmer solo piece. But I was still thinking "What if I can't make it thru this?" in the back of my mind. (Big mistake, I know.)
BobD--So you think kids don't/won't notice mistakes, huh? I saw at least 3 of the older kids jump (out of the corner of my eye) when I missed a note on a solo interlude. A quick B-C#-B triplet above the staff really does need both the 7 and 8 keys on the side, not just the bottom 7 (Eb/Bb) key. And yes, the kids picked up on the no-brainer mistake I thought I had fixed long ago. We're talking reach up this much higher, and I would've had it...
The rest of the song went fine, despite the fact that I didn't put as much of myself into it as I did the night before. (The best playing advice I've ever gotten was once when a teacher told me to play a technical passage "like I didn't give a s---", meaning relaxed instead of labored." Today was definitely labored, as much as yesterday's playing was relaxed.
***OK, next question is: How do you bounce back from a mistake when it's heard and nonverbally acknowleged by other performers? (whether it be with or without direct eye contact) This goes way beyond "evey phrase is a new beginning." It's more like, "I know it was a mistake, and now so do they."
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Author: jo.clarinet
Date: 2003-12-08 11:28
Everyone makes mistakes, although often one can cover them up to a greater or lesser degree - it's just unfortunate when it happens during an exposed solo! No-one's going to despise you for making a slip. I play a lot with a group of very proficient amateurs, and we sometimes have a good laugh when things do go wrong, but we certainly don't agonise about it. As we see it, the whole point of playing together is to have fun doing what we all enjoy.
Jo (non-professional as a clarinettist!)
Joanna Brown
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Author: D Dow
Date: 2003-12-08 11:47
There are a huge number of ways of working through a mistake in a concert...however, I am inclined the best way of getting over any error is to simply shrug it off and maintain a high level of concentration. This sounds very simple, but is not.
However, I would certainly try to memorize the tough spots in the music and not sweat over the easier parts. Professionals tend not to make many glaring errors because they usually enjoy performing in the spotlight...
I would see this exerience as a positive way of reinforcing good concert etiquette and sometimes even smiling or seeming to enjoy yourself reaps huge rewards in that it eases the audience as well.
Many times effective playing is simply doing your best and being yourself. Goals are only attainable if you really want them!...
David Dow
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