 The Clarinet BBoard
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Author: Amy
Date: 1999-03-11 22:00
I am trying to find a copy of the Orchestral Excerpts for clarinet, by McGinnis I believe, Volume 1 and 2. When I went to go find them at Pender's Music they said they were unavailable. Does this mean I won't be able to find them anywhere?? Does anyone know where these books can be found??
TIA
Amy
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Author: Daniel
Date: 1999-03-12 01:13
The entire 8 volumes are out of print. But Luyben has the odd numbers... i'm still trying to find someone who has the even numbers...
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Author: Mark Charette
Date: 1999-03-12 02:04
They're not "out of print" in the normal sense. They can't be reproduced anymore due to some copyright issues, especially with the Russian composers. I don't have the details, unfortunately.
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Author: Kevin Bowman
Date: 1999-03-12 19:00
Mark Charette wrote:
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They're not "out of print" in the normal sense. They can't be reproduced anymore due to some copyright issues, especially with the Russian composers. I don't have the details, unfortunately.
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That's right - they are not "out of print". I had Vol 1 & 2 from some time ago but I think these *can* still be obtained. In addition, I recently was able to obtain vols 3, 5, & 7 but not 4, 6, & 8, due to the copyright issues Mark mentioned. I ordered mine through a local store but I think you might still be able to get the volumes from J.W. Pepper. If you can obtain vol's 1 and 2, they contain the majority of excerpts you will encounter in orchestral playing in the states.
Kevin Bowman
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Author: Ken Shaw
Date: 1999-03-12 22:52
Amy wrote:
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I am trying to find a copy of the Orchestral Excerpts for clarinet, by McGinnis I believe, Volume 1 and 2. When I went to go find them at Pender's Music they said they were unavailable. Does this mean I won't be able to find them anywhere?? Does anyone know where these books can be found??
TIA
Amy
Amy -
Place # 1: Your teacher.
Place # 2: Any music library.
Place # 3: Any clarinetist in your local symphony.
Place # 4: Garage sales, eBay, used book/music stores.
You won't like to hear this, the excerpt books are not enough. In the standard repertory, you should begin to accumulate copies of the actual parts. The McGinnis excerpt books have many typographical errors, and audition committees know about them and listen for them. If you don't know the actual part, they know you haven't played the actual piece, but only the excerpt books. Also, the McGinnis excerpts are very short, and audition committees love to throw difficult licks at you that are not in, for example, the Mendelssohn Midsummer Night's Dream excerpt (which asked for in 100% of auditions).
Also, auditioners often ask for solos that are not in the excerpt books at all, particularly the pianissimo noodling in the opening of Ravel's Daphnis and Chloe, the big solo in Kodaly's Galanta Dances and the gigantic cadenza in the Nielsen Symphony # 5 (or is it # 4?).
Finally, the complete parts contain many difficult non-solo passages that you have to master. The first movement of the Tchaikovsky Symphony # 6, for example, has a whole page of rapid 16th notes in unison with the strings, some of them in awkward patterns, which you may be asked for on an audition, and which you must have under your fingers anyway. If you try to sight read Hindemith's Symphonic Metamorphoses on Themes of Weber, you will feel like a beginner again.
Sorry about that, but nobody said it was easy to make a living as a clarinetist. There's a lot to learn for everyone.
Now, go home and practice!
Ken Shaw
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Author: Mark Charette
Date: 1999-03-13 02:32
Ken Shaw wrote:
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Also, auditioners often ask for solos that are not in the excerpt books at all, particularly the pianissimo noodling in the opening of Ravel's Daphnis and Chloe, the big solo in Kodaly's Galanta Dances and the gigantic cadenza in the Nielsen Symphony # 5 (or is it # 4?).
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I just heard the Galanta Dances for the first time a couple of weeks ago. I was driving the kid home from school, and he put a CD in - Bartok & Kodaly. I knew the Bartok, but not the Kodaly. After that great solo, I asked him what it was. After a quizzical look from him: "Galanta Dances. That's what I played for the Chautauqua audition."
Love learning from the kid! (he's not <i>really</i> a kid anymore (he's 18) - I just call him that.
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Author: Dee
Date: 1999-03-13 04:50
Mark Charette wrote:
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... Love learning from the kid! (he's not <i>really</i> a kid anymore (he's 18) - I just call him that.
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Now Mark, you know he'll always be your "kid" until the day you die, just like any other parent.
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Author: Pam L
Date: 1999-03-17 00:29
If you have no luck finding the books used (and you still want them after all of the earlier comments), you might want to try Byron Hoyt in San Francisco. I've found that if the is music available anywhere, they've been able to get it for me (for example, getting music published only in Poland). Their phone is 1-800-477-8055. They are open Tuesday through Saturday 9-5:30 Pacific time. They also have a website: www.byronhoyt.com. Happy playing!
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Author: paul
Date: 1999-03-18 16:37
I believe that Ken Shaw has a good point. From what I heard from my pro tutor, it's a dog-eat-dog world out there, and it's been that way for as far back as people can remember.
I'm beginning to understand what Ken said when he mentioned the phrase "you have to get it under your fingers". All of the practice in the world on everything else doesn't prepare you as well as playing the piece itself. Yes, the various drills help develop technique and will give a person a good foundation of fundamentals. This is essential. Excerpt books are a great start. However, I believe Ken is right on the mark by saying that the committees and conductors demand that you intimately know entire pieces from the expected reproitoire (sp?). If you don't have the entire set of music they expect thoroughly understood, memorized, and well interpreted, you might as well not check into the audition. Even at that, if they throw something at you that's brand-new to you, the opportunity to learn how to play it and get it right can be extremely short.
...and no pro wants to have his (or her) contract "bought out". Being fired in the middle of the season is a career ender.
So, with all that said, if you are taking lessons from a pro that survived many years in the "game", take the time to find out how they did it. Then, follow in their footsteps.
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