 The Clarinet BBoard
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Author: Amanda S
Date: 2005-11-21 22:04
Musicality seems to be the biggest problem for me...every contest I go to, I awlays get the same remarks. "Play more than the black on the page" and "make it musical." I know that music should be like that, but I just can't figure it out. I know dynamics play a big part, but my dynamic range is pretty small. How can I improve that? And secondly, some have told me that listening to more music will help me. Can anyone reccomend some CD's I should get that would help me with my musicality?
Thanks you guys,
Amanda
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Author: Bnewbs
Date: 2005-11-21 22:19
You have exactly the opposite problem that I do. I have never had problem playing a piece that I liked, the ones that did not interest me to much I never played very well, Stamitz and Weber in particular. In my experience to really play a piece well you have to feel it, and pay it how it sounds in your head. That doesn't come naturally to alot of people. If you go out and buy CD's from some of the great interpreters of music, that may inspire you. But just trying to play it like they do I think that is not much just playing whats on the page. For instence When I play Copelands's Concerto I play the first movement as slow as anybody, but what else I do I really can't say, just what comes naturally when I play it. I guess it might be like a really bad version of Stanley Drucker's recording. Musicality is really abstract though, there is no right or wrong, just playing with your own sound. Spending time not worrying about anything but just playing and making it sound expressive or beautiful might be my best advice. Eventually it should come to you,
Ben
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Author: tictactux ★2017
Date: 2005-11-21 22:28
Sigh.
I wish I had your ability to play from the black of the page...I can only play relaxed when I have the piece "in my ear", when I don't have to look at those distracting blobs on the paper. They were invented to torture me.
Try to play the piece by heart. No looking. No distraction. Just play. For a start, buy some "greatest" CD from Mamas&Papas through Maria Callas, doesn't matter as long as it's an earworm. Play it. No inhibitions. Do it in the bathroom. Loud. Let the walls shake. Folk tunes? Great! Just do it. Imagine you're the performer on stage and 20000 screaming people bought a ticket.
Currently I'm playing after a B&H book (because I must) and Christmas carols (because I want). Yesterday it was "un bel dí vedremo" and "those were the days, my friend". Every day is rewarding.
What's your favourite tune? The one you hum in the subway?
--
Ben
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Author: ohsuzan
Date: 2005-11-21 22:40
Hi Amanda --
I'm guessing that you are probably in high school -- or at least, fairly young.
If that is the case, part of that "musicality" you are seeking could also be called "musical maturity". You always hear about this when some prodigy plays the violin or piano or something at Carneige Hall when they're only 13, and the reviewer either says, " Ms. X showed a remarkable maturity in her approach to the music," or else they say, "Her rendition of the piece, while technically impeccable, would benefit from a greater maturity of concept," or something like that.
To an extent, the only way to gain the kind of mature ear that hears the music and not just the notes is to get lots and lots of experience both playing and listening to other excellent players.
The advice to listen to CDs of excellent clarinet players is good.
Although others might not agree with me, I would suggest you start with Richard Stoltzman, and specifically, his CD entitled "Aria". This CD provides is an unusually expressive selection of clarinet music, and Stolzman is known as a very expressive clarinetist. You will definitely be able to pick up on what he is doing.
Another reason it might be nice to start with Stoltzman is you can buy the "Richard Stoltzman Songbook" (for clarinet and piano accompaniment), so you yourself can try out some of the effects you hear him doing on the CD.
As for extending your dynamic range -- you have to do it the hard way. Long tones, long tones, long tones, until you think you can't stand it anymore. Start as softly as you can, gradually get louder until you are as loud as you can play (with control -- not a honk), and then s-l-o-w-l-y taper the sound off again until it is as soft as you can play.
You might not be able to hold it very long, or get very much dynamic contrast at first. But do this on every note of the scale (at least two octaves), every day, and it will gradually improve. You should see improvement over a period of weeks or months, not days (depending, of course, on how much you practice).
You might find this boring, but there are no short cuts to dynamic control, as far as I know.
Good luck!
Susan
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Author: Paul Aviles
Date: 2005-11-21 22:52
Dear Amanda,
Lots of great advice above. I completely agree with Susan. I would only add that you can do this exercise starting on the LOW E. Do a slow count (approx 60 beats per minute) of 8 from just starting at a whisper to VERY loud....no break....8 more counts back to a fade out. Do this twice for each note E, F, F# and G. For a real work out, repeat going back down to the E. Whenever I start a practice session with this, my tone is much stronger and I feel more in control of everythihg.
There is also the Marcel Tabateau method of assigning numbers to volume levels. He chose 8 increments simply because there are 8 scale degrees with 1 being your softest and 8 being your loudest. Once you have your limits on each side, start to assign numbers to the other shades of volume. Then, apply them to the various marking in your music. Iggy Genusa also loved this method.
............Paul Aviles
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Author: Bnewbs
Date: 2005-11-21 22:53
I am personally not a huge fan of Stoltzman's tone, or style, but I can't argue about him being really expressive. It's all subjective, and a lot of people really like Stoltzman. That would be recommendation I agree with in order to hear some expressive interpretation. There is a large collection of expressive studies realesed by the southern music press, or somebody like that which could be helpfull. Also you may need to really overdue the dynamic changes for a while until you really get the dynamic range and control improved, I think that is what Susan is suggesting. I hope this of some help,
Ben
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Author: Bob Phillips
Date: 2005-11-22 00:55
I have to agree with Bnewbs and advise caution in using Stotzman as a model for musicality. Not that he's not musical; he is. Its just that he's off in a dark corner where few of us are willing to follow.
Try this: get several performances of the same clarinet music. I suggest the Mozart A Major Clarinet Concerto: KV 622. Focus on the second movement, and listen to several different players. Get some name-brand dudes; and poke around for some unknowns, too.
Put the CDs in your car. Play the second movement from one; and, while its fresh, play another example.
Whenever I'm working on a piece, I live with it in my car, playing it continuously until I'm ready to move on.
Bob Phillips
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Author: EEBaum
Date: 2005-11-22 03:14
Get to know the piece.
Listen to various recordings, sure, but that's just the start.
- Read through the part without playing. Often. Conduct the piece once in a while, even if you have no conducting chops. Imagine the accompaniment as well.
- Look at each note, and think of what its purpose is in the musical phrase.
- Play just the downbeats of each beat, and realize which direction they are all going, and what their purpose in the grand scheme is.
- Play the piece in an odd manner. For example, in the Copland Concerto cadenza, accent all the offbeats and treat them as downbeats. Turn Weber 2 into a waltz. Doing things to catch yourself off guard can do wonders to understanding where the music is going in its native form.
- Realize that every note, every beat, every phrase has motion. Keep in the back of your mind that everything you are playing came from somewhere, and is going somewhere.
- Memorize the piece, then play it with your eyes closed. Yeah, yeah, Mr. Holland's Opus and all. Still, a printed page can be quite the dictator.
- Along the same lines, try playing with the music a foot or two further away than usual. This still gives you visual cues, but lessens your focus on individual notes.
- Play accurate downbeats, and realize that everything you play is moving toward the next downbeat.
- Realize that there is probably a good deal that went on in the composer's head that could not be put onto paper. Such as "this is the good part," or "this part should be spooky" or "this part reminds me of my dead fiance."
-Alex
www.mostlydifferent.com
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Author: GMac
Date: 2005-11-22 03:59
Wow...Alex, that was a really, really excellent post. I would really love to hear you play, you expressed exactly how I feel musicality in a few point form notes. I am an oboeist, but as we are all muscians I feel that I can comment on this too...I think that the most important thing is Alex's 2nd point, making sure you know exactly where every note is going. The big picture (i.e. going to the peak of each big phrase) is the most important, but knowing what the purpose of each note is is critically important to getting the big picture.
Do you have a private teacher Amanda? If you don't, then that's definitely the best way to go. Any teacher will be able to explain the ins and outs of musicality much better than we can because they have the part in front of them and can refer to specific instances in the music.
Graham
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Author: Lani
Date: 2005-11-22 05:11
Hi,
One more little suggestion. Record yourself playing and see how clearly the dynamics you thought you were performing actually come through for the listener :-)
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Author: Shorthand
Date: 2005-11-22 06:02
Amanda, musical maturity is elusive and hard to really talk about. Its hard to hear in other performances until you've experienced it for yourself.
Its actually somewhat common to get high school bands full of people in your predicament, though of course they don't know it. I've heard these ensembles referred to as "Hoover" bands - like the vacuum cleaner. You roll them out on stage, flick the switch, and they run flawlessly, flick the switch back off and roll them off. Everything works just like it should and its about as exciting as the above description.
Given that image, musical maturity is marked by, amongst other things, the willingness to take musical risks and to pour your heart into it. I know that this seems really uncool and unadult from the perspective of anyone under the age of about 23, but its true, you should be emotionally drained at the end of a performance.
The recording and listening is a particularly good idea, but here is a simple rule that should be applied at all times:
In a melodic line, no two consecutive notes can ever be identical.
The final suggestion I have is see if you can weasel your way into a good community band. A good community band isn't marked by blinding technical ability, but instead by as much musical maturity as any professional ensemble, in some situations more as egos and professional reputations aren't as involved.
Remember, you have nothing to loose by taking musical risks and letting your feelings really hang out there, but you have everything to gain.
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Author: claclaws
Date: 2005-11-22 06:35
Great advice, Shorthand, but could you elaborate a little bit on "musical risks" please?
Do you mean, different articulation? (ex. slur instead of staccato )
Lucy Lee Jang
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Author: EEBaum
Date: 2005-11-22 07:40
It's a lot more subtle, yet a lot more overt than different articulations, Lucy. One of those "if you have to ask, you'll never know" aspects of music. Hard to put into words.
Little fluctuations in tempo, dynamics, articulation, whether something is ahead of or behind the beat. Stylistic differences. Changes in tone color. Just about anything that you'd think "well, perhaps doing it a bit different than explicitly marked would make it sound better" about is a risk. Knowing when they're appropriate to take comes with experience.
-Alex
www.mostlydifferent.com
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Author: claclaws
Date: 2005-11-22 08:14
Wow....So daunting a task.
Thank you for the kind explanation, Alex.
Lucy Lee Jang
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Author: Mark G. Simon
Date: 2005-11-22 15:31
Listen to a lot of music. All kinds of music.
Don't just listen to the Mozart Clarinet Concerto, listen to the piano concertos, the violin concertos, the Symphonia Concertante K.364. Listen to Mozart string quartets, string quintets.
Listen to the Brahms violin sonatas, the cello sonatas, the string quartets, the horn trio, not just opp. 114, 115, and 120.
Listen to pianists, violinists, singers. Try to imitate their phrasings. Listen to what the other instruments of the orchestra are doing in the Beethoven and Brahms symphonies and figure out how that relates to the clarinet partts.
Time flies like an arrow; fruit flies like a banana--Mediocrates (2nd cent. BC)
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Author: vjoet
Date: 2005-11-22 15:45
Hi,
The suggestions from the others are all excellent.
I'd like to add Keith Stein's book, *The Art of Clarinet Playing*, chapter "Phrasing, Interpretation and Musical Style". In this chapter I'd suggest paying close attention to the section 'Phrase Driving'.
If you find (as I did 30 years ago) this section extremely helpful, then I'd suggest following up with the book, *Note Grouping* by James Morgan Thrumond.
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Author: Bob Phillips
Date: 2005-11-22 16:06
Oh, by the way:
Yesterday, I asked my new teacher, the principle of the Spokane, WA Symphony, to help me with the second movement of the Mozart Clarinet Concerto --since it is written in the key that's next up in my scale/chord/etude sequence.
He refused --saying that we should start with the first movement. A shock to me, because the beautiful, plaintive second movement seems to be pretty interpretively independent of the first (and third).
So, we got out his working copy of the piece. I was shocked to see it. Of course, the first fold line was worn to the point of needing to be taped together.
BUT, the manuscript is black in pencilled-in phrasing hints. Breath marks, phrase group brackets, cresc, decresc, arrows pointing to the next group in a sequence, tenutos, ...
I've come in the last month to realize how sloppy my phrasing really is. I thought that, if I could get the notes out, I could then work on my phrasing --and that I'd be good at "making music." Well, I've been fetched up short here. I'm working my way through the Rose Etudes and finding that every study (a page with, usually, no repeats) takes me on the order of 24-hours to make presentable. Now, these aren't great melodies, but sort of linked "riffs,", with a lot of dynamics and tempo changes. Still, yesterday, I thought I had the Rose pretty well mastered. When I finished, however, there were several phrases that I wanted back --the chance to replay a couple of measures and force them to sound the way I want them to sound.
Fortunately, this is fun work.
Bob Phillips
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Author: Brenda Siewert
Date: 2005-11-22 16:43
All I can add is my personal experience. Play the technical part well, but play from the heart. Try to love what you're playing and feel it in your soul as well as your head. Until you can do this you will never excel as a soloist.
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Author: Sylvain
Date: 2005-11-22 20:07
Dear Amanda,
There is a lot of good advice here, especially sugestions about recordings. What is important to know is that most of the time everything you need to do to be musical is written on the page. The easy direct markings for expressiveness are usually explicitely written, there are also crescendo markings, articulation markings. The more difficult instruction are those associated with harmony, some chords are simpy a little more sads than others some more dramatic. In order to do so you need to start looking at the score not only your solo part.
A good foundation for musical interpretation of what I call "main stream" classical music are the slow movements of the Rose 32 etudes. These pieces are very important from a muscial point of view has they have a lot of component you will see time and time again. They are all very well structured into different sections andeach section is itself divided into phrases. Look at the part, try to find where these phrases are and shape them in some way that makes sense. One (somewhat) easy thing to do is to figure out where to breathe, i.e. it might not be the best idea to reathe right in the middle of a phrase or in the middle of beautiful legato interval. Singing the part often helps. When the same group of notes is repeated, aks yourself if the compser is looking for an softer echo effect or does he want to emphasize this particular group of notes? When you see a long phrase all legato, would you play everything at the same dynamic level or is there a high point in the phrase that all previous notes lead to? Allof these questions are questions that you need to ask yourself when seeing a piece of music even when it is fast and technically challenging.
The technical aspects of being musical are all about control of your sound. A great player will be able to play an open G in many many different ways sad, happy, angry, joyous, simple, bright, dark, loud, sweet, reedy, staccato, marcoto, espressivo.... All of these with a single note. Sean Osborn warmup routine might be a good starting point, Check it out at:
http://www.osbornmusic.com/warmup.html
Good luck and don't get discouraged, this is one of the most rewarding part of playing music.
-S
--
Sylvain Bouix <sbouix@gmail.com>
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Author: Amanda S
Date: 2005-11-23 03:02
Wow...you guys are awesome. Y'all always have so much for me to learn every time I read something.
So I'm not looking for one certain piece to be musical, but mainly being musical in general (although I could use some help with the Rose etude 11...I think?). I have a private teacher and she keeps telling me that my musical maturity will develop last, after technical ability and such. Bummer. Oh well. I'll use all of these suggestions...they're great!
Thanks and Happy Turkey Day!
Amanda
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