 The Clarinet BBoard
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Author: claclaws
Date: 2004-08-27 00:37
Maybe I should look for previous threads containing words like 'musicianship', but I'd rather share my comment and ask a question.
I recently (to be honest, 3 days ago^^) bought a used A clarinet (Festival) in order to play the Mozart pieces that I adore. And fortunately enough, on the very day of my purchase the amateur group I belong practiced Mozart quintet's 3rd mov. menuetto. As we(2 violins, 2 cellos and me) tried to read the score along, it was so amazing that at this level, we succeeded in finishing some 5 lines...!
As I practice my part at home, I'm wondering, okay, I try to blow the right notes, with the right tempo, then cater to the dynamos (p, f, crescendo..), will that be enough? At this moment, I'll be thrilled if I can manage only those, but I don't believe that's the end of the story..
So maybe here's the part where the musicianship kind of ability comes in..But it seems so vague. What exactly should I do or study or practice? I hope I have the right insight/attitude/skill..whatever, to be able to correctly and marvelously play the Mozart pieces. Too big a dream?
Thanks for reading.
Lucy Lee Jang
Post Edited (2004-08-27 00:39)
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Author: EEBaum
Date: 2004-08-27 00:54
Downbeats.
This applies to just about any music, but especially well to the classical era.
At any given time, you are traveling from one downbeat to the next. Always be looking toward the next one, with your eyes and your fingers (where on the clarinet they are, not where the note is on the page), and never "sit on" any notes.
You already know what you're playing at any given moment. The key is to know where you're going.
Though this sounds simple, it's taken me 4+ years of hearing it over and over, in different ways, to finally even begin to do it automatically.
-Alex
www.mostlydifferent.com
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Author: sdr
Date: 2004-08-27 01:42
Read "The Mastery of Music: Ten pathways to true artistry" by Barry Green (New York: Broadway Books, 2003).
-sdr
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Author: theclarinetist
Date: 2004-08-27 02:06
I think the key to "musicianship" is having something to say musically, and being able to express it clearly, being able to translate the written music into an effective musical message (how each does this is, of course, very personal).
Any one who can read could recite Shakespeare without missing any words, but it takes a talented actor/actress to brings the words to life in any meaningful way. A good way to try to illustrate it is to grab a book and start reading aloud. How do you know which words to stress and where to breath? You just do (well, most people anyway!). There are obviously mental processes dictating this, but good luck explaining them. I think the key is to listen to a lot of music (and many versions of the piece in particular) and slowly develop your own sense of musicianship (I'm just beginning this process). It can't be forced. In fact, a player who is forcing their "musicality" usually ends up sounding ridiculous because it comes off staged and artificial.
DH
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Author: clarnibass
Date: 2004-08-27 05:06
I think it's best to think of some original way of playing it. It's hard, and especially with this kind of music, but still possible. Most important thing when playing (especially when playing a piece that was played so many times) is not trying to sound like someone else. I've never heard someone trying to copy someone else and sound better. A lot of time I listen to a concert (of any kind of music) and think it's so obvious they are trying to sound like someone else. If they do then they might as well put a CD instead of playing, it will be the original and probably sound better.
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Author: claclaws
Date: 2004-08-27 13:19
Thank you very much for sharing your thoughts. It is a very personal and complex matter, I agree. And importantly, can't be done overnight..
sdr, thanks for the book information. I'll check that at amazon.com.
Lucy Lee Jang
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Author: theclarinetist
Date: 2004-08-27 13:51
I would agree with clarnibass that it's not a good idea to try to copy a previous performer. However, I wouldn't adopt the opposite extreme that you must try to be completely original (being original for the sake of being original doesn't have much musical value either...) Just do what you want, and if it has anything in common with another performer, then so be it. Just be yourself.
DH
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Author: Ralph G
Date: 2004-08-27 14:23
You need to make sure you convey the idea the music expresses -- yes, through the right notes and tempi and dynamics, but also through the mood, the "vibe" you and the other players set.
I think it was GBK who gave the best description of the Quintet I've ever read -- five friends conversing, sometimes laughing, sometimes arguing, but finishing with a glorious statement of unity and togetherness. To me, the third movement is the laughter -- five friends joking around with each other, getting into a bit of mischief, trading off a few good-natured insults.
If you can somehow convey a vibe that make listeners feel they're a part of the conversation, you've done a true musician's job.
________________
Artistic talent is a gift from God and whoever discovers it in himself has a certain obligation: to know that he cannot waste this talent, but must develop it.
- Pope John Paul II
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Author: clarnibass
Date: 2004-08-27 15:03
I agree with clarinetist also. I didn't mean be original just for the sake of being original. I think that you need to find at least 1 thing that is special for you. That would be enough to distract anything else that sounds like others. After all you are playing the same notes so how different can it be?
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Author: GBK
Date: 2004-08-27 15:53
Ralph G wrote:
> I think it was GBK who gave the best description
> of the Quintet I've ever read.....
Thanks for the compliment. At that time, I wrote:
"A unique dialogue among 5 friends, who, at times will argue, show great compassion, laugh together and finally, exhibit lasting camaraderie" ...GBK
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Author: claclaws
Date: 2004-08-27 22:48
May I quote you, GBK, on that best description of the Quintet and let me share it with my ensemble friends. We'll keep it in mind when we play the piece.
Lucy Lee Jang
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Author: GBK
Date: 2004-08-27 23:01
claclaws wrote:
> May I quote you, GBK, on that best description of the Quintet
Absolutely.
Good luck on your performance ... GBK
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Author: BobD
Date: 2004-08-27 23:08
I play Mozart for my personal enjoyment. So far I've had few complaints.
Maybe ten years from now you'll be able to play it professionally but for now why not just enjoy it....as per GBK
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Author: Ralph G
Date: 2004-08-28 01:28
GBK wrote:
> Thanks for the compliment.
Nope, thank you. My perception of the piece changed completely after I first read that. Now I appreciate it like never before -- especially (another Manasse plug) the way Jon Manasse and the Shanghai Quartet are able to make the "camaraderie" ending really sing in true pint-hoisting glory. That Mozart guy was really pretty good, no?
/adjourns meeting of Mutual Admiration Society
________________
Artistic talent is a gift from God and whoever discovers it in himself has a certain obligation: to know that he cannot waste this talent, but must develop it.
- Pope John Paul II
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Author: DavidBlumberg
Date: 2004-08-28 16:05
I've always been a fan of Manasse's playing. I remember as a high school senior competing in the Phila. Concerto Soloists Competition and a Clarinetist beat me for the finals. To that point I hadn't been beaten in a competition since 9th grade (1st Regional/State 3 years) so I was wondering who the heck beat me.
When I heard Jon play, I was ok with that..... 
Same thing happened for a Radio Competition as a College Senior - but that time I came in 2nd to a Bassonist who ended up being Principal Bassoon Chicago Symphony.
I was ok with that too.
Was sort of like the day at the Apollo Theatre when Lena Horne entered their Talent Show expecting probably to win.
She came in 2nd - Ella Fitzgerald was on the card that night
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