 The Clarinet BBoard
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Author: Liam Murphy
Date: 2008-01-08 11:26
I'm pretty sure that this topic has not been covered.
For about a year, I've been trying to work up several rather difficult pieces for solo clarinet. One of which I chose was the Rossini Intro. Theme and Variations.
The 3rd variation of which, my question is directed to:
Does anyone out there have a preferred articulation pattern for the arpeggios in the first repeated section? After a bit of thought I chose to tongue the first two notes, slur the next two, then tongue the last three of every group.
I chose this pattern because I really wanted to hear the first two notes clearly to set off each arpeggio, hence tonguing both of them. Then slurring the next two notes, getting my tongue ready to cleanly attack the last three, usually high, notes.
I've found this method to be fairly effective as it does not sound like you are cheating with too many slurrings, because everyone will hear the first two and last three high notes the most clearly. Also to me, tonguing on the altissimo register is easier to do cleanly than the clarion register.
This is not to say that I'm not placing any importance on the 3rd and 4th notes, as I try to play all seven at a similar, healthy forte.
Have I completely over complicated this?
Even so, any suggestions, or success stories would be gratefully accepted.
- Liam
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Author: Paul Aviles
Date: 2008-01-08 14:31
The gesture, and the top notes, really are what're important. Do what works for you to achieve that.
.............Paul Aviles
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Author: Jack Kissinger
Date: 2008-01-09 18:18
I think David's approach is the usual one. It's actually marked that way in my version (Sikorski). I would add that the downward arpeggio (after the 4th upward one) following the eighth-note E is marked tongue two, slur two, tongue two.
Best regards,
jnk
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Author: JDJ
Date: 2008-01-11 05:03
Hi Liam,
For Variation 3, I also articulate it as written. However, given this is a virtuoso piece, the soloist would appear to have some latitude to make some modifications. I'm working on this piece right now with many hours of practice. I've come to some ideas I'll share with you and others.
For example, the variations have repeated sections....so to give the audience some variety and interest, you can:
1) Alternate the repeats loud and soft.
2) Second time though, there are some opportunities for a slight ritard at the end of phrase.
3) You could change the articulation second time through.
Well, you get the idea.
My audience for this piece will be mostly clarinet knowledgeable people, so if I play it straight as written, I'm going to get comments like "no imagination", or can play the notes, but didn't give any personal expression to the piece to "make it mine". So to avoid those comments, I'm going to risk some "iberties to cause the audience to say "wow, I've not heard that before"...even though they might have heard the piece countless times in concert and CD.
Regards, James
PS. I've got a thread going about the the Rossini I, T and V. I'm looking for people willing to share their written out cadenza starting at C3 near end of piece. I've asked Martin Frost for his version, but so far, no reply....
Send anything any of you would like to share (pdf or word) document to tswiftjr@yahoo.com.
Post Edited (2008-01-12 02:56)
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Author: Brenda ★2017
Date: 2008-01-11 16:50
The Smart Music program just sent an update, and this piece is now listed! It wasn't there before when I needed it. Ah, maybe now I'll make an excuse to pull this out again and give it another round.
I'm still quite happy about getting the Sikorski edition of this piece from a NY music store awhile back for $3.00! Someone on this board alerted me to the pile-of-excess-sheet-music-in-a-bin price, thank you! Of course back then the exchange rate was $1.20 Cdn and now the dollar's at par, but who's complaining?
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