 The Clarinet BBoard
|
Author: tb0b
Date: 2000-11-17 23:38
I have an audition tomorrow and i'm playing Von Weber-Concerto #1, 1st and 2nd movements, C. Fischer.
but I can't play the sixteenth notes fast enough.
should i just slur the notes? is that okay?
and at the end, the parts the the chromatic scale, do i have to play every single note of it (the thing with the beat divided into 9 parts)? or can i just go like fast and skip like the last few?
|
|
Reply To Message
|
|
Author: tb0b
Date: 2000-11-18 00:15
oh...and in the beginning of the 1st movement, at the first "fast" part (the sixteenth notes from high d to g and high c to a), is it okay to slur those sixteenth notes?
|
|
Reply To Message
|
|
Author: Aaron
Date: 2000-11-18 00:54
Well.....all i can say is good luck...now is not the time to be worring about those notes! It's tool late. Nothinnng can be done for tomorrow. Only advice I can give is to either slur if you cannot tounge. The only other advice is just to relax, and let the tounge relax so it can move freely. Nothing else you can really do at this point in time.
|
|
Reply To Message
|
|
Author: Keil
Date: 2000-11-18 02:42
I know the von weber like i know the back of my hand... the best thing to do... and we are talking about von weber's 1st although i know the 2nd almost as well... newayzzz one thing you must do when you have to perform a piece is become totally involved with the piece, by that i mean know it better than you know yourself. Aaron was pretty much right though, it is to late to get those trouble areas under total control but that doesn't mean you can't improve them. With the chromatics make sure you aren't making it harder for yourself than you have to... you should make sure you line them up within the beat, don't skip notes but start the chromatics a bit slower than push the tempo of he chromatics so that you fingers do the chromatics automatically without much thought than you will nail the chromatics. Your articulation troubles can be easily remedied with articulation excersises and perpetual practice with a metronome. The tip of your tongue should hit the heart of the reed, part little ways under the tip of the reed. Minimize the distance your tongue travels away from the reed, i bet the problem isn't that your tongues is to slow but that your fingers are too fast. You need to practice tonguing so that your tongue and fingers line up exactly with each other. When your tongue and fingers aren't lined up that's when you hear extra articulations on notes. By practicing these fast passages slowly, i mean extremely slowly with a good staccato tongue and emphasis on lining up your tongue with you fingers than you will be able to aleviate the problems of runaway fingers. A perfectly good articulation pattern for the sixteenths note in the 1st movement is the stardard slur two tongue two pattern which is an excellent articulation excersise if practiced very very slowly at first and worked up to mm=120 or higher... newayzzz... you can do a slur two tongue two although in my edition i don't see a place where the articulation is extremely demanding except for the parts that require a run from low E up to D. As far as what you should wear, casual dress is good... something relaxed but definetly portrays your professionalism. If the part you're referring to with the run from D to G and C to A is the part right before the morendo on the first page then you can slur both runs or you could slur the 1st two sixteenths and the 1st two sixteenths on the fourth beat, so that beat one has slur two tongue two, beat three is all tongued and beat four is slur two tongue two... that is a very clean way of executing those passages. I hope this helps... Good Luck and Happy Clarinetting!
|
|
Reply To Message
|
|
Author: THE Big J
Date: 2000-11-18 02:43
Wow, you waited an aweful long time to do all this stuff... all I have to say is good luck.
|
|
Reply To Message
|
|
Author: Kim L.
Date: 2000-11-18 21:25
The judges would rather hear you play accurately slurred, than messed up tongued. Relax, and play the music the you have in practice. When I play in front of judges, I have begun to think that it doesn't matter how everybody around me plays. Do they affect the way that I will do at the audition? I just go in there ready to the best I can and that is all that I can ask.
Good luck and relax.
|
|
Reply To Message
|
|
Author: Ian Black
Date: 2000-11-18 23:22
OK. I agree with the other posters. Do not try anything new before your audition - that's a sure fire way of making a mess of the whole thing.
What to wear depends on many things, (where you live, what the audition is for, etc.) so I'll not even try to answer that.
Re the beginning of the first "fast" part in the first movement, I usually slur the first one (the minor scale down from high D) and tongue all but the F# - D of the second (i.e. te, te, tee-ah, te, te, te, te, te, te, ta).
Work on the nonuplets (I think that's the correct term) and try to get them even. The general idea is to keep the semiquavers (sixteenths) nice and even before these, and then use the last beat of the bar to "glide" up to the first beat of the next bar. Note - I do not mean a portamento. Each note must be distinct and separate.
I'm not familiar with the edition you are using, but I can't think of too many staccato semiquavers in mine. If the Fentone edition (F409 if I remember) is available to you, I can recommend it, as it has (in the piano part) a reproduction of Weber's original clarinet part. (the separate clarinet part is edited by Pamela Weston) You can then see Weber's intention. If there is a run of semiquavers which you feel should not be slurred, perhaps you could try slur 2, tongue 2? This often fits the music quite well, and is down to interpretation.
If you're up to it, the Fentone also shows (on a separate insert) some additional bars to the first movement by H. Baermann, with a following cadenza by C. Baermann. I find these very effective, and (once you can play them) these extra bars are a pleasure to play.
*BUT* I cannot stress enough - do not try this immediately before an important audition. Play it the way you've been practising and work on any new stuff *afterwards*.
Ian
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
