 The Clarinet BBoard
|
Author: wyatt
Date: 2003-10-25 14:53
we just had an interesting tread about the amount of time one spend practicing.
just curious about what you like to practice.
As for myself I like to do broadway music.i
bob gardner}ÜJ
|
|
Reply To Message
|
|
Author: theclarinetist
Date: 2003-10-25 15:16
I usually play the Klose scales, thirds, and broken chords. Then I'll sightread a couple etudes (Rose or Cavallini usually), then I just work on whatever solos I'm working on.
I really prefer to practice solos, but I find that I don't enough "technique" from just solos, so I use the Rose/Cavallini etudes to keep that aspect of the playing up. I can already play all the Klose stuff well and from memory, so I just use it as a warm-up (and fix any spots that might have gone badly).
DH
theclarinetist@yahoo.com
|
|
Reply To Message
|
|
Author: Markus Wenninger
Date: 2003-10-25 17:53
For flexing and warming up: One of the Etudes by Zitek, there are just 10 of them, but they cover nearly the whole ambitus of the instrument, and though I have them for years now, they remain a challenge and sound simply fantastic. Then a couple of multiphonics, quartertones and the like, effects, then full tilt into one composition of the 20ieth century, the newer the better, mostly - although breakthroughs by Carter or Ballif or W.O. Smith or Berio never will become neither boring nor easy nor non-contemporary scores, that´s for certain. End of session with tones in the altissimo, again multiphonics (trying to remember the sounding partials and the fingering...).
Markus
|
|
Reply To Message
|
|
Author: ron b
Date: 2003-10-25 19:32
Hi, Wyatt
An old fiddler, passing through here last week, told me that you were planning to move to Tennesee. He heard that a jug band was looking for a rural setting to hold summer workshops and had put in a bid on your place. Maybe you better ask your wife if she's been talking to strangers lately. It was rumored that they also wanted to lease the town of Philo to set up a washboard factory.
Be that as it may, I find your question hard to answer because I don't practice in the usual sense. Unless there's something in the works for a performance or something I love to just 'noodle'. I like Klose' for reading practice but mostly I play whatever I feel like playing - and long tones to keep the embouchure and breathing under control.
- r![[cool]](http://test.woodwind.org/clarinet/BBoard/smileys/cool.gif) n b -
|
|
Reply To Message
|
|
Author: leonardA
Date: 2003-10-25 19:47
I practice jazz songs, some clarinet exercises. and have been trying to master the run in One Note Samba for a while. I like to find real music that has intricate note combinations I can work on, rather than pure exercises, although I know that the exercises are valuable. I just find real music more enjoyable.
Leonard
|
|
Reply To Message
|
|
Author: ron b
Date: 2003-10-25 20:57
I don't know what 'pure' exercises are, but I find well written exercises are real music - and rather enjoyable if you play them as such
- ron b -
|
|
Reply To Message
|
|
Author: Rachel
Date: 2003-10-26 01:56
I warm up on some scales and arpeggios, then play a few long notes, then work on my solos, then wind down by playing something that is fun and not too difficult.
|
|
Reply To Message
|
|
Author: allencole
Date: 2003-10-26 05:06
Scales, scales-in-thirds, and arpeggios are always handy. Like Leonard, I also like to stretch my ears and their connection with my fingers. Diatonic chords are something that I don't practice nearly enough, but need to get to work on.
One interesting puzzle is to play something in all keys. My favorite one is the triplet stuff from Jesu Joy of Mans Desiring. I also have one that I call "The Accidental Tourist" which I use to test and confound myself in what used to be the keys I dreaded.
Another thing that I enjoy is trying to pick out old Dizzy Gillespie tunes by ear. I don't know if Diz is actually the composer of all these, but I have enjoyed working on Be-Bop (I now play its A-section in all keys), "Old Man Rebop", "That's Earl, Brother" and "Ray's Idea."
For sightreading, I am pretty happy with the plethora of etude and duet books available.
Allen Cole
|
|
Reply To Message
|
|
Author: Ralph Katz
Date: 2003-10-26 12:41
Very limited time to practice:
Baerman Method, 3rd Division (scales), with metronome. An entire scale slurred, then tongue-2/slur-2, slur-2/tongue-2, tongue-4/slur-4, slur-4/tongue/4. I vary where I start in the book (scales, broken scales, thirds, arpggios, etc., sometimes working forwards, and sometimes working backwards in the book.
Jeanjean, "Vade Mecum" Du Clarinettiste. Usually concentrate on the "Special Work for the Left Hand" and "...Right Hand."
About 40 minutes of this is all I can usually fit. I leave time to play through some of the trickier tunes coming up on gigs, especially with regard to improvisation.
|
|
Reply To Message
|
|
Author: Mark P. Jasuta
Date: 2003-10-26 13:30
I mostly have my daughter play from Baermann's 3, long tones and chromatic scales with the metronome set at 60. We also have Klose but use Baermann's 3 the most.
Regards
Mark
|
|
Reply To Message
|
|
Author: Garret
Date: 2003-10-27 04:13
slow chromatic warm-ups, Hamelin scales or Albert scales, long tones, Rose etudes, then a solo (currently Messager Solo de Concours).
It takes me about 2 hours
|
|
Reply To Message
|
|
Author: clarinetdaddy
Date: 2003-10-27 07:14
Hello All,
Scales , scales, and more scales. Everyday. Plus we all must spend many hours on long tones also. We can all learn to play "notes" but without a good sound who will want to listen?
Miles
|
|
Reply To Message
|
|
Author: ned
Date: 2003-10-27 08:44
"One interesting puzzle is to play something in all keys. My favorite one is the triplet stuff from Jesu Joy of Mans Desiring. I also have one that I call "The Accidental Tourist" which I use to test and confound myself in what used to be the keys I dreaded."
Yes - JJMD is a good one - I practice this in different keys - but I wouldn't like to admit how many I can't do it in yet - how many can you do Allen? I'll try and play catch up.
|
|
Reply To Message
|
|
Author: Meri
Date: 2003-10-27 16:27
For me, right now, practicing consists of several things.
1) Practicing the challenging sections in Cabaret, a production I will be playing in between November 10 and December 6.
2) Orchestral excerpts for National Youth Orchestra of Canada auditions in January.
3) Practicing various studies, pieces, and scales for my audition material for music faculty auditions.
4) Exercises to work on voicing in register changes and staccato tonguing.
5) Recital pieces.
6) Community band material. (not too difficult, mainly to get the clarinet solos in two of the band's pieces sounding really good)
7) Practicing the music and exercises for my student's lessons.
There is significant overlap in terms of concepts and pieces, and some of the material is in or close to performance shape.
Meri
|
|
Reply To Message
|
|
Author: allencole
Date: 2003-10-27 16:50
Believe it or not, John, I'm playing Jesu in all 12 keys. (It's a normal part of my warm-up) The problem lies in the pinkies, and this generally comes to a head in the key of B. Can't escape the left-pinkie slide no matter who I try to set it up.
My more chromatic piece creates pinkie challenges in a number of keys and is also teaching me to reach for my 1/1 low E-flat more often to facilitate jumps. It follows a harmonic structure similar to the chorus of "Angels We Have Heard on High" (or "Easy Walker" for jazz fans).
A new one that I'm beginning to work is a country-guitar boogie lick from Asleep At the Wheel's version of "Hot Rod Lincoln." It matches the sequence and timing of the I-IV-V-I arpeggios I make my students do. I hope to use it down the road to illustrate how arpeggios provide the skeleton for so many other things that they hear.
This all-key concept is very fun for me as an adult. I doubt that I would've had the patience as a kid. But now that I'm an old guy, I can work things slow and think of them as tone exercises as well. Jesu was quite a long-tone exercise when I started working it in F# and B. <g>
Allen Cole
|
|
Reply To Message
|
|
Author: deepriver27
Date: 2003-11-01 12:28
My solution to the pinkie thing in the key of B with JJMD is simple. Play it an octave lower. :/
|
|
Reply To Message
|
|
Author: Don Berger
Date: 2003-11-01 13:56
A lot of "doodeling", run the full "compass", checking out the LF combinations carefully, and other alternates. When I have head and hands 'in gear', I try a variety of recalled solos, run the break with 76 Tmbs, and a recalled Klose excercise of two. Then, hopefully competent, I try the most difficult passages in the present music, then relax for the downbest!! Don
Thanx, Mark, Don
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
