 The Clarinet BBoard
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Author: BassClarinetGirl
Date: 2005-01-11 01:34
I was wondering if anyone would be willing to take a look at my All-State Audition piece and give me their two cents on it. The link is here-
http://www.mmea.org/PDFs/All-State.docs/Etudes/basscl001.pdf
I have practiced it with my band director once, and on my own for about a week, so it is still pretty new to me. Any suggestions (I know the judges look for proper alternate fingerings, which i have noted on my copy, all of the ones I know of, and getting what my band director calles "the pointless rhythems" down right) would be greatly appreciated!
Becks
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Author: Sarah
Date: 2005-01-11 02:57
Looking at it quickly, I didn't see any place that I'd use alternate fingerings. If you are looking for tips...I would just reccomend practicing with a metronome all the time. And also, once you get all of the basics down (notes, rhythms, articulations, dynamics) make sure to add in expression and phrasing. I think that is something that most people auditioning tend to miss.
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Author: DavidBlumberg
Date: 2005-01-11 02:59
Measure 18, for the last beat, make sure to tongue one and slur three. That's one that many will probably miss.
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Author: clarinetist04
Date: 2005-01-11 21:49
Yeah I don't see any need for alternate fingerings either. Good advice about tonge one slur three and make sure that your articulations are crisp. When you havea slur two tongue two passage, make sure you cut off the second slurred note to help facilitate the crispness of the next two notes. Follow the speeds...aka use a metronome. It could be tempting to play the second part faster than need be.
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Author: LeWhite
Date: 2005-01-11 23:22
I would be most weary about measures 8, 11, 17 and 30. Make sure you continue counting through these bars and maintain the tempo.
Work slowly through this one; there's a lot of detail in it and it's your job to make sure they hear the detail.
__________________
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Author: Hank Lehrer
Date: 2005-01-12 02:45
Hi,
I think there is a bit more in these 33 measures that might first meet the eye. What you really have is a little piece that requires three different styles of playing. Be sure to look up what each of the words indicate and strive to make a musical difference in each section. I'd use a somewhat somber style in the first section, the second section could be a bit jovial, and then be very graceful with a barcarolle feeling for the 6/8 section.
The dynamics are straight forward but plot out the loudest and softest area of each section. The dynamcs in measure 18 are extremely important as is the articulation. Be sure to use the correct chromatic fingering in measure 9 for the F# to F.
Enjoy playing for the judges!
HRL
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Author: sfalexi
Date: 2005-01-12 03:54
I'd remember that although there may not be many crescendos/decrescendos, remember that playing at the same dynamic for bars at a time can get boring. This is part of the musical expression I would think. For instance, for the first two bars, it would probably sound good for a slight crescendo to the chalemeu D in the second bar in which case you can back off slightly. I believe the technical term is called "phrasing" the music. Usually "four bar" phrases are common, but looks like in the very beginning you can use "two bar" phrases.
Alexi
PS - ALternate fingering F# to F (whoops . . . Hank already caught it. Well, consider it a reminder)
US Army Japan Band
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Author: Ken Shaw ★2017
Date: 2005-01-12 21:15
Becks -
This little etude is full of traps.
First, go through and circle all the staccato marks and breath marks in red, and reinforce all the legato and accent marks in red. The judges will take off a point for each one you miss.
The etude spends a lot of time in the low end of the clarion register, where many players have a hard time avoiding stuffiness. At the audition, before you start, play a 3rd space C, to set your embouchure to sound good at the beginning of measure 2.
Measure 1 -- play slow and sweet for "largo." Like the English horn solo in Dvorak's New World Symphony
Measure 2 -- hold the D half note full length. Mark a long arrow over it, pointing to the right, and extending to the end of beat 3. At the end of the arrow, draw a vertical line: ------>| Do this for all the long notes.
There’s a nasty trap in measure 2. A half note shouts "I’m at the beginning of the measure," but this one starts on beat 2. Put a big number "1" over the two 8th notes, a big "2" over the half note, and a gigantic red "3" next to it, and a "4" over the 8th rest. At least half the auditioners will hold the half note for only one beat and play the two 16ths on the & of beat 3. If you jump the beat, this will be a big deduction.
Measure 4 -- hold the fermata about one extra beat. Make a definite pause, to show you saw the "railroad tracks" sign.
Measure 5 -- the marking is "giocoso," which means "jolly." Keep things happy sounding, and not too light. You get light at measure 21, so you want the contrast.
Measure 9, beat 3 -- put a # sign next to the G on beat 3. It's easy to play G natural.
Measure 10 -- make a **very** distinct difference between the 8th note and the triplets. They go slower than you think, and the judges will be listening extra hard for this.
Measure 13 -- if your instrument doesn’t have a special vent for it, the throat Bb will be stuffy. If that's true, you should find if you can get quickly enough to the next-to-top trill key, which makes a great Bb. If you can, this will win extra points from the judges.
Measure 14 -- take a big breath -- the phrase is twice as long as most of the others.
Measure 15 -- try the trill key fingering for Bb.
Measure 17 -- take a big breath at the end, in preparation for the long phrase beginning on 18.
Measure 18 -- mark a # on the second beat D. It’s tempting to play D natural. Also, with the fast notes, it’s easy to forget the decrescendo and crescendo. These are not natural sounding dynamics. Be extra careful to do them.
Measure 19 -- mark the C# on beat 2 and the G# on the last note. Try to use the trill key for the Bb on beat 1
Measure 21 -- change to a light style of playing, as marked.
Measure 23 -- play the Bb with the trill key.
Measure 25 -- big breath.
Measure 28 -- mark the second note a Bb. Take a big breath before 29.
Measure 31 -- even though it’s not marked, you should probably take a breath at the beginning.
Measure 32 -- don't slur from the Db at the end of 31 to the C in 32.
Measure 33 -- full but not too loud on the low E. Otherwise it gets stuffy. Give the fermata a full extra beat and a bit more, and end the tone with your breath, not your tongue.
Good luck. Let us know how you do. Don't skip a beat in measure 2.
Ken Shaw
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