 The Clarinet BBoard
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Author: Philip Caron
Date: 2008-07-29 21:40
Straight major & minor scales seem to be going reasonably well, so that I'm basically working each day to polish them and speed them up. I also seem to finally have the major & minor scales in 3rds installed into finger memory, so again, daily work on those is to clean them up and add speed etc.
So, what next? It's time to add something. I do work some appegio sequences, but not as diligently and focused as the above - there's definite holes there. I've seen recommendations for scales in 6ths and also for scales in octaves. What about other intervals? I'm not sure what area will get me the most benefit for the time spent.
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Author: MaDxClArInAtOr
Date: 2008-07-30 00:16
i've started practicing patterns in ascending and descending chromatic minor seconds.
for example,
F-E, F#-Fnatural, G-F#, G#-Gnatural, etc... from Low E all the way up to G#6 and back down
you can go even further by adding ascending and descending chromatic minor thirds, perfect fourths and fifths, maj/minor sixths, etc.
maybe you can combine patterns! like ascending chromatic perfect fourths followed by fifths:
E-A-B, F-Bb-C, F#-B-C#, etc...
the possibilities are endless!
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Author: Ed Palanker
Date: 2008-07-30 00:24
Diminished 7th, dominant 7s, whole tone scales, chromatic scale of course. Anything else the Baermann book 3 has. ESP www.peabody.jhu.edu/457
A little Mozart
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Author: Ryder
Date: 2008-07-30 00:28
Agreeing with Ed P. Now that you have a grasp on the majors and minors you can much more effectively move on to the Baermann books and similar books. The possibilities are endless.
____________________
Ryder Naymik
San Antonio, Texas
"We pracice the way we want to perform, that way when we perform it's just like we practiced"
Post Edited (2008-07-30 00:30)
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Author: alanporter
Date: 2008-07-30 00:58
Let me throw a "cat amongst the pigeons". Why practice scales, arpeggios, ascending and descending minor thirds, etc, etc. Why not just play the music as written ?
tiaroa@shaw.ca
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Author: D Dow
Date: 2008-07-30 01:06
Grab the Opperman studies for clarinet...not the recent stuff(the Velocity ones I mean) but the Oyster bay one's with green covers..
various difficult stuff...very good and excellent warm up materials
David Dow
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Author: CarlT
Date: 2008-07-30 01:16
alanporter said: "Let me throw a 'cat amongst the pigeons'. Why practice scales, arpeggios, ascending and descending minor thirds, etc, etc. Why not just play the music as written ?"
In my post, "Some Beginner Questions", this is what I also wonder.
Intuitively though...even as a beginner...I can see that scales, apreggios, minor thirds, etc. would be necessary if for nothing else than learning fingering, but I'm sure there is a whole lot more to it than that, right?
CarlT
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Author: sfalexi
Date: 2008-07-30 02:51
CarlT wrote:
> alanporter said: "Let me throw a 'cat amongst the pigeons'.
> Why practice scales, arpeggios, ascending and descending minor
> thirds, etc, etc. Why not just play the music as written ?"
>
> In my post, "Some Beginner Questions", this is what I also
> wonder.
>
> Intuitively though...even as a beginner...I can see that
> scales, apreggios, minor thirds, etc. would be necessary if for
> nothing else than learning fingering, but I'm sure there is a
> whole lot more to it than that, right?
>
yup. I was one of those, "I'll just play what's written" type of people. But I was looking at a piece the other day for the first time and sight-reading it fairly well. So I looked at it a little closer and realized the reason I sight read it well was because these 8 notes was just a diminished seventh run, and the next two bars were just basically a broken scale. And later on in the piece there was a dominant seventh broken arpeggio which I just happened to have under my fingers and so I breezed over it.
I never noticed it before, but those scales and stuff make it a whole lot easier to read something correctly while reading it down. I have a whole lot of work I want/need to do for those basic patterns, but when I sat down, I noticed that a lot more of the music just seemed to feel comfortable under my fingers because they were patterns I was used to practicing and so my fingers/eyes were used to seeing and coordinating.
Still have years to practice, but after that little episode, I am more motivated to do that grunt work since I see the little that I've done so far pay off.
Alexi
US Army Japan Band
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Author: Brenda ★2017
Date: 2008-07-30 12:13
Exactly! The scales, arpeggios and their variations are the building blocks of music. If these are under your fingers then playing music as written becomes far easier. Sight reading is so much easier because you're reading patterns and not individual notes. It's a lot of grunt work, but once these scales are learned then it becomes a real joy to pick up new music because it comes together a lot faster.
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Author: Bob Phillips
Date: 2008-07-30 15:32
Alexi is right on!
I had that experience just this week, blasting through some Weber at reckless speed and then noticing that the runs were all stuff that's been stuck under my fingers over the last couple of years by an astute teacher.
Scales in 3rds, arpeggios.
The rocky places: that G7 arpeggio that I haven't worked up (yet)...
Bob Phillips
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Author: willr13
Date: 2008-07-30 15:38
I find the best thing to nail all possible intervals is chromatic minor and major 3rds 4ths 5ths etc etc... it covers most of the possible intervals, work at them slowly for legato and sound and then quicly for technique, saves hours learning major and minor 4ths 5ths 6ths etc as you cover all in one.........
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Author: buedsma
Date: 2008-07-31 10:03
play one klose page of mechanical exercises every day . THese exercises cycle through all keys in different patterns.
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Author: Philip Caron
Date: 2008-07-31 12:15
Willr13, I do happen to work the chromatic intervals. However, playing in keys is different and important. Context matters, and fingerings can differ.
I do sometimes practice scale & arppegio exercises from the corresponding parts of Jettel, Langenus, and Klose. However, I've been focusing on particular areas, such as thirds, to gain as good command as possible over them as a whole. I don't know this plan works better than a diffuse "practice everything" approach or not.
Ed Palanker, thank your for your advice, which is always appreciated.
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