 The Clarinet BBoard
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Author: Curinfinwe
Date: 2010-04-16 21:30
Today I had a college audition. I played Weber's Concertino, and it didn't go as well as I think it should have. I messed up some of the runs that I have had down pat for at least a month and that I could play perfectly a couple ofdays ago. However, yesterday the descending thing starting on high Eb before the slower 6/8 section started to fall apart when I was practicing, and today in my audition it was a complete mess. (I'm not too concerned, though- a couple of days ago I received acceptance and a scholarship from my first choice college, so today's wasn't a high-stress audition.)
The thing is, tomorrow I'm playing the Concertino in a festival and I desperately don't want to mess up again. It seems like I just can't get that section back together, no matter how many times I try it slowly, with funny rythms, backwards, etc. Have I overpracticed? I'm at a loss as to how I can possibly play it well tomorrow, unless some miracle happens!
Does anyone have any ideas as to how I can get it back under my fingers?
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Author: Paul Aviles
Date: 2010-04-16 21:40
I think you've just mentally taken yourself out of the game.
You don't have enough time to read "The Inner Game of Tennis" by Gallwey (but DO get it and read it).
As an emergency stop gap, just listen to the beautiful sound you are making and concentrate on the vibrations in your fingers as you play and how wonderful that feels!
Pavaroti spoke of how nervous he got before going on stage to the point where he thought he would be completely incapacitated. After hearing the first few notes he sang on stage, ALL of those thoughts melted away and he was perfectly comfortable.
....................Paul Aviles
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Author: Paul Miller
Date: 2010-04-16 21:55
Here's what I recommend. Don't overdo it today or tomorrow, you'll just get too keyed up over the performance. Remember, it's just another day of playing! The real value in your practice and your performances is not what some judge thinks - you're learning how to play and how to perform, and it doesn't have to be perfect.
I've developed a routine ("Zen long tones") that helps me get really well connected with the clarinet. Here's what you do.
Go to <www.online-stopwatch.com> and put the stopwatch on full screen. Start the clock.
Start on low E and play the note with the best control (about mp) you have for 25 seconds. Rest for 5 seconds, then repeat. Do this for five minutes, then go up to low F. You'll do this for an hour, and go through the lowest octave on your instrument. It's difficult at first (and admittedly a bit mind-numbing) but after a while it becomes easier and you'll start noticing things about the way the instrument plays, the way you make adjustments, and how you're attacking the notes. By the time an hour has gone by, you'll have done an hour of long tones, connected yourself to the instrument, controlled your breathing, and 95% of your nerves should have fallen away.
Take a break for about 15 minutes, then come back and do the same thing, except only half a minute on each note. You'll notice that your tone and control is much greater - you'll feel much more confident in your playing in general.
It's a sort of Zen kind of warmup, so stay focused on the task at hand. Any time your mind starts to wander, try to feel the vibration of the instrument and the reed as they play. Focus on your breathing and make sure you're as relaxed as possible throughout the process.
I've been doing this for a little while now and I've found that everything about my playing has improved - and it really helps me get focused before a big performance.
Good luck!
Post Edited (2010-04-16 21:57)
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Author: Bassie
Date: 2010-04-16 22:01
I can only share a thing that's worked for me:
Play it louder. Possibly faster. Throw caution to the wind and be prepared to completely 'ham it up'.
Sounds disastrous? The point is to /perform/ it. It's like, when you're learning the altissimo: if you're scared of it, it won't speak. You have to meet it head on and stare it in the eye. Even though a great piece is always bigger than you are. (You can't pretend it's not.)
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Author: NBeaty
Date: 2010-04-16 22:08
Making sure you're calm about it is key.
My teacher recommends practicing by conducting yourself through the music (with a pencil, No. 2. works best). This will allow yourself to sing through it and understand what it should sound like.
After this, take the clarinet (without mouthpiece) and finger through the sections that are technical. Things to take note of while doing this are:
How high are your fingers? Are they too high and having trouble finding their place when they come back to the keys? are they too low and might sound muddier?
Is there tension in your hands or arms? Even though you aren't playing the instrument, the same tension will most likely be there!
Make sure your fingers and body are calm. The thrill of the performance and understanding of style will provide you with more than enough energy!
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Author: William
Date: 2010-04-17 15:08
I'm an avid curler, and usually for the first game of each season--after the long summer lay off--I make almost every shot--draw to the four foot or take out and roll. But curiously, after spending time at the rink throwing a lot of practice stones, my regular game may decline and I will miss those shots made easiest before. (you Canadians may understand this lingo best :>) Why should this be??? In a word, CONCENTRATION. It's the same in my music performance and why I usually will play better during a first run through (even sight-reading) than in a second attempt--as in most rehearsals. It's all in being mentally alert and ready to do your best the first time. That is why I hate "official" full ensemble warm-ups before concerts--they just take the edge off of my performance mentallity. And I think the same can be said for practice preparation for recitals, jury's or auditions. When you go before the audience, you should be a little bit "on edge" or in your game, so to speak. Therefore, hitting the PR the day before for hours is not a good idea. It's the consistant practice done over the weeks prior that will really pay off, but just before your event, I would recommend taking a break to refresh your senses and reestablish that performance edge needed to be on top of your game. For me, for my old recitals, I would practice religiously weeks and days leading up to the event, but the day before, just run through everything only ONCE--with no re-dos for errors. Then the day of, just the usual warmup, testing of reeds (which I no longer have to do as I'm using Forestones) walk out on stage and JUST DO IT--almost cold turkey style. That routine worked for me, usually with very good results--even the night I forgot to bring my music with me and had to retreive it from the wings :>) Another "trick" I always used was to always adjust something on stage, most often the heighth of placement of the music stand or exactly where I was to stand in relation to the piano or ensemble. Just a little something to ease the nerves, but still maintain that performance "edge". Here's wishing you luck and success with your recital. When things start to go poorly, take a small break........things will always get better.
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Author: DixieSax
Date: 2010-04-17 15:55
Second on "The Inner Game of Tennis."
Take a day off, and don't get worked up about your performance. Relax. Come back after a day off, and feel how easily things flow when the pressure is off, then focus on and memorize that feeling for your live performance.
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Author: Curinfinwe
Date: 2010-04-17 20:01
Thanks for the help everyone! I just got back from the performance, and it did go better. I only had one run-through this morning with my accompanist, and I just let the bad performance of yesterday go- I tried to forget about that and completely start over.
And it worked! The parts that I was worrying were fine, and overall, the piece was great! I had a few small errors in places, but I think the introduction was the best I've ever played it- my mom says she almost cried the first note was so good, and the adjudicator was raving about my musicality and expression at the beginning.
I'll definitely get that book- I've had it recommended to me before, but never actually go around to reading it. This time I will!
And William, I know exactly what you mean. I'm also a curler, and the best bonspiel I ever had was last March. I hadn't curled at all that year; it was a school bonspiel and even though I had for the most part quit curling, i wanted to play again. We had one practice, and then we went out our first game and beat the other team badly- and I was making shots I was never able to before! After a few games, though, I started not making easy shots. It was incredibly frustrating!
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