 The Clarinet BBoard
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Author: Ryan Young
Date: 2006-08-09 02:51
Hey everyone, Im preparing for my All-District auditions on Columbus day and was wondering if anyone had any playing tips and hints as far as style and for making these etudes stand out. Thanks everyone for the help you always see to give me.
Ryan
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Author: Ed
Date: 2006-08-09 15:54
Hi
Rather than try to paraphrase, I would highly recommend that you get the book by Henry Larsen-The 32 Rose Studies: An Analysis and Study Guide
The book gives detailed information about studying each of the etudes and discusses technical and musical ideas in each. It is an excellent book and an extremely valuable resource. It is available from:
http://www.vcisinc.com/clarinet.htm
Good luck!
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Author: Bigno16
Date: 2006-08-09 22:10
...which is a Woodwind.org sponser as Mark informed me last time I posted one of those links, so make sure you click on it through the sponsers links on this website.
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Author: Ryan Young
Date: 2006-08-09 22:40
hey thanks for the advice just ordered me a copy AND went through the sponsors page.
Ryan Young
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Author: Mark Charette
Date: 2006-08-09 22:48
Bigno16 wrote:
> so make sure you click on it through the sponsers links on this website.
Thanks, but the sponsors (everyone other than SheetMusicPlus & Google) pay a small fixed charge annually. Click any way you want!
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Author: Ken Shaw ★2017
Date: 2006-08-10 18:19
Ryan -
You will of course master all the notes in these etudes and be able to play them at an appropriate tempo. On a higher level, you will think about the mood of each etude -- fast and virtuosic or slow and graceful -- march-like or dance-like.
However, in high school level auditions (which I assume yours is), you need to have more basic things in place.
First, FOLLOW INSTRUCTIONS. The first thing a conductor wants is to have everyone doing what s/he says.
If you're told to start in the middle of a phrase, or on an unimportant note two bars before a solo, you have to do that. Anthony Gigliotti said in a master class that if you start on the solo, you're immediately disqualified. Ed Palanker said the same thing in his audition articles in The Clarinet.
Playing faults that competition judges look for:
RHYTHM -- This is the first thing judges listen for and is more important than everything else combined. If your rhythm is inaccurate, all the good things go out the window. You need to internalize a metronome. This doesn't mean playing mechanically, but the underlying pulse must be strong and even. Speeding up in the easy passages is as bad as slowing down in the hard ones. Judges particularly downgrade for inaccurate entries after rests and long notes. You need to count twice as hard there. Greg Smith says that the most important five things in an audition are rhythm, rhythm, rhythm, rhythm and rhythm. Ed Palanker wrote that inexact rhythm is the by far the most frequent cause of downgrading.
UNEVENNESS -- This is related to rhythm. Uneven, "rocky" running passages get downgraded. So do wide slurs that are not connected, or have a "bump" on the second note. You even passages out by slow scale and arpeggio practice.
INTONATION -- A note that's always out of tune, or sharp high notes, will get you downgraded. Play scales and the etudes for your teacher at 1/2 or 2/3 speed, listening for intonation.
TONGUING -- Rough or uneven tonguing will lose points. An accurate, light staccato is essential.
TEMPO/FAKING -- Too slow but accurate is **much** better than fast but sloppy. Listen to a recording of the contest piece, and always stay near the recorded tempo. I've seen a top player -- by far the best in the contest -- lose out in the first 2 seconds by playing perfectly but much too fast. The judges picked up their pens simultaneously, to downgrade the performance.
"Faking" is playing faster than you can be accurate all the time. You may be able to play perfectly at a slow tempo, and reasonably well at a fast tempo, but have an intermediate tempo that causes trouble. It's possible to float along above the intermediate sticking point, but this ability evaporates under the stress of the competition. You need to work with a metronome, gradually increasing the tempo to the sticking point and doing the hard work to get through it.
After that, and only if everything else is in place, come tone, musicianship, communication with the audience, etc.
RECORD yourself and listen for these problems. You'll be surprised, and probably appalled, by what you hear. Work hard on the little things, and, above all, NEVER PLAY FASTER THAN PERFECT. If you do, you're only practicing how to make mistakes.
Good luck.
Ken Shaw
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Author: Ryan Young
Date: 2006-08-11 04:39
Thanks alot for all those tips, even while some may say those are basic tips that all musicians should know i believe we all need to be reminded of them sometimes...thanks alot for all your help!
Ryan
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Author: pewd
Date: 2006-08-11 05:16
ken,
can i have permission to reprint you post, and send it to some students?
thanks
-paul
- Paul Dods
Dallas, Texas
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Author: Bob Phillips
Date: 2006-08-11 05:42
lets talk #17.
Don't be tempted to play this in 8/8. You might want to spend some time with the metronome set to 1/8th notes, but you've got to play it in a slow 4 to get the feeling "right."
John Walker calls for this one to be performed at 1/4 = 54/min, but you need to set your tempo by your facility with the 1/32nd notes in measures 3 and 7.
In measure 5, try lingering (tenuto) over the first two 1/32nd notes. You need to sweeten this phrase --not just settle for playing the quick notes in straight time. BUT, hit the 9th 1/32 note exactly on beat 4!
In measure 5, try starting the trill on the G --coming slowly down to the F# and accelerating the speed of your trill. Linger over the ending grace notes, but don't be late to the G that starts measure 6. Start that crescendo about half way through the trill and extend it over the entire 6th measure
In measure 7, be sure to tie the first of the 1/32nd notes to the preceding 1/4 note. Only 7 notes of the 1/32 note groups "move."
Measure 8 is a little cadenza, swell nicely and accelerate on the ascending chromatic run, linger on the altissimo D, and fade into the end of the phrase in measure 9. Don't be in a rush to release the top line F in measure 9.
You'll want to bring up the volue a little as you start measure 10 so that you can ciminuendo for two beats and then crescendo again
Understand the legato tonguing in measure 12, and come to terms with all of the diminuendos. Of course, you'll need to strt each new phrase with an increased volume --so that you can make sweet diminuendos without fading completely away.
In measure 16, find a way to celebrate the(normally weak) throat Bb. Show up your competition by having a Bb sweet enough to play Crusell's 2nd. Use a resonance fingering to fill out your tone --or use the side Bb, if you must.
Two measures before the double bar, you get to exhibit your wonderful, rich chaleumeau register. Don't start too loud (marked poco f). Slow down as you play the turn and make a gentle crescendo and play the end of the phrase "LARGE" -- as Langenus says, "a full and noble tone." Really full, not just loud.
Get a big breath at the held 1/8th rest ---maybe look at your listeners and bring them along as you return to tempo.
Be sure to play the following 1/16th note triplets in strict time.
Similarly, study the third measure after the double bar to make sure that you'll get the first of each group of notes "on the beat."
Pay special attention to the dotted 1/16th and the following 1/32 in the 4th measure after the double bar. That's a significant phrase ending; leave enough time to get the F# well rounded, and don't rush off of the G --but get a good breath for the following crescendo. That should take you cleanly to the Altissimo Eb (finger with the sliver key), and march down the triplets with good breath accents under the slur --no tongue, just a (quite) forceful breath accent.
We've recently had a discussion on this forum of how to treat the caret (^) markings on the sextolets in the next measure. Some folks here want them played quite forcefully. Here, I like to use both tongue and breath to emphasize the first note of each sextolet. They should certainly be more emphasized than the breath accents in the previous measure. Remember to hold up the volume through this measure until the diminuendo starts in the following measure.
Come down a lot in the 7th measure after the double bar, and when you retard, be sure to get the articulation correct in the last beat (tongue, slur, slur, slur).
Start slowly and accelerate the trill on the 2nd line G, and extend the grace notes (written F#-G) by inserting (Bb, A, G) before them. There is plenty of time for this because you control the tempo. (Some might not appreciate you messing with the written music.)
Once again, take your time with the held 1/8th rest and bring your listeners along as you quietly take up the next phrase. Play the clarion Bb with the side fingering because it is more important to link it to the following A then it is to move quickly to it from the top line F (you tongue the Bb, anyhow).
Use a resonance fingering to celebrate your middle line Bb.
At 8 and 4 measures from the end, use the 1-1 fingering for the clarion Bb.
End on a resonance fingering for the Bb
On Rose # 18.
Play this in 2. Guru John Walker calls for this to be played a dotted quarter note = 80/minute.
A critical problem in this study is in getting the rhythm correct where the triplet pattern includes one 1/8th note, an eighth rest and 4 1/32nd notes. (as in measure 5) Start by playing the 1/32nds as grace notes leading to the following beat. Get the following 1/8th ON the beat. Refine your timing so that the three partitions of the beat are of equal length.
Be sure to slow the tempo and lower the volume when you get to the meno mosso at measure17. This needs to be a nice contrasting interlude for the faster sections before and after.
Take a good breath, and get rignt back to tempo when you finish the slow section at measure 25.
In the second half of the work, spend some time planning and marking your pinky finger choices so that the clarion Ebs flow easily .
In measure 43 pay careful attention to the unusual phrasing; be sure to tongue the right notes and only the right notes.
In measure 47, finger the altissimo Eb using the the right hand sliver key --to make it speak in tune.
Carefully interpret the double slurs in measures 45, 47 and 48. Legato tongue as indicated under the upper slur --a phrasing mark.
Finish with a clean demonstration of your ability to cross the break and a side-key Clarion Bb.
Good luck with your preparation.
I hope you'll get other opinions from our members.
Bob Phillips
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Author: Ken Shaw ★2017
Date: 2006-08-11 14:17
Paul -
You're more than welcome to use anything I post. If you re-post it somewhere else, I'd appreciate it if you'd include my name.
Ken Shaw
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Author: pewd
Date: 2006-08-11 14:48
thanks. you phrase your thoughts better than i do.
my students have heard most of that from me, just not put quite so clearly.
-paul dods dallas, tx
- Paul Dods
Dallas, Texas
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Author: Meri
Date: 2006-08-11 18:56
Do you mean the Rose 32 or the Rose 40? I know there are printing errors in the Rose 40, in number 18. (too many beats) My teacher told me about them.
Meri
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Author: Musinix
Date: 2006-08-12 00:13
Hi,
I have an audition for a local community orchestra on Sunday, and I have selected the Rose Etude #7. Can anyone offer any artistic suggestions for this piece? I will also be using John Walker's accompaniant from a CD.
Thomas Fiebig
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Author: Ed
Date: 2006-08-12 00:17
doesn't John Walker make scotch? ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
Post Edited (2006-08-13 00:13)
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Author: Ryan Young
Date: 2006-08-12 02:56
Wow thanks for all the tips. and the rose 32. and Johnny Walker makes scotch...thanks again
Ryan Young
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Author: Eric V
Date: 2010-07-27 00:46
Wow, great reply Bob Phillips,
I'm still pondering #17 measure 8. I see 25 notes in the 2nd beat. You describe this as a little cadenza, does that mean you get to take your time with the 2nd beat, or do you have to play these 25 "1/32 notes" in time? I'm trying the latter but it's ugly!
And I ordered the Larsen book. Looks like I'm gonna have some work to do.
Eric Van Nice
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Author: Eric V
Date: 2010-07-27 14:40
Hi andrewsong,
Thanks for the video posts, those are very helpful. Specific and detailed advice followed by nice real performances. Good study material. If you come across any more, please post them as well.
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Author: Tobin
Date: 2010-07-27 19:24
http://www.youtube.com/watch?v=tg1a7pp9b5M&feature=related
Anyone else getting weird repetitive clipping on this example at the 2:33 mark?
James
Gnothi Seauton
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Author: Old Geezer
Date: 2010-07-28 16:25
The videos were pretty good; though I thought the professor's tone was a bit shrill.
Of all the clarinet instructors on video that I've seen, I think Michael Webster was the best.
Clarinet Redux
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Author: andrewsong
Date: 2010-07-28 17:15
Yes, I noticed the clipping on that video. I will try sending him an e-mail asking him to fix that.
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Author: Chris Hill
Date: 2010-07-30 15:42
On my computer, his tone quality is beautiful. At last, something that my archaic computer does well! (My computer is so old that all of the math functions show up in Roman numerals!)
Chris
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The Clarinet Pages
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