 The Clarinet BBoard
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Author: Scaysie
Date: 2012-02-15 22:19
Thanks in advavce to you orchestral clarinetists out there for your thoughts on this my 1st New Topic. I have relativly recently returned to the clarinet after some years studing flute/life etc. and I have been lucky to be offered 1st Clarinet in my local orchestra.
The show is on in 4weeks and while every thing else is under control I am having difficulty coordinating the eighth notes in groups of 6 towards the end of the first movement .This is a very exposed section in an arppegio pattern alternating in reaching up to C and D, if that makes sense.
Im sure if you have played the piece you will know what I mean
The problems are 1. getting right 5 down and back up quickly enough 2. having a consistant amount of mouthpiece in my mouth and the resultant bite occuring, resulting in a very rough transition through these notes.
I am going slowly ,using a metronome , playing the 3 equal notes as
Am-ster-dam but progress is minimal
I cant get to a teacher for a few reasons , so if any one has any sure fire answers , I would certainly appreciate them .I must say that so far I have appreciated Ken Shaws thoughts from his post dated 1999-07-12 on the exercise using the 2 register keys. ie. reg key and then L1
Thanks for your thoughts
Peter
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Author: Paul Aviles
Date: 2012-02-15 23:06
I use the left 'C' since I use the RH "Ab/Eb key" to vent the high 'D.'
Keep the tongue REALLY light
If need be, you can slur the first two notes
Last three high 'D' thingys: decrescendo thinking "3," "2," "1." It helps
................Paul Aviles
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Author: Ken Shaw ★2017
Date: 2012-02-16 01:28
Sean Osborn has excellent advice at http://www.osbornmusic.com/beethoven6.html.
At a master class, Mark Nuccio said:
In the "standard audition" solo in the first movement, the opening is piano. There's an important contrast between loud and soft. The hardest part is making sure the third line B speaks (at the beginning of each ascending arpeggio near the end of the solo), since there's a leap down to it each time. The key is keeping your embouchure and air pressure steady.
See http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=124887&t=124867.
Playing the third-line Bs with your right little finger makes you reach down for the key and tends to pull your right ring finger out of position. Try it with your left little finger.
Finally, don't think about moving your fingers. Think about the phrases -- sing them inside your head -- and let your fingers take care of themselves. Get outside your body and feel the music running by like a breeze.
The great Philadelphia Orchestra flutist William Kincaid would have his pupils play a difficult solo on a single note -- say, third-space C -- keeping the phrase shapes and the musical expression without moving their fingers. Get the solo to work in a monotone, and then let your fingers move lightly to make the changes.
Ken Shaw
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Author: Scaysie
Date: 2012-02-16 02:02
Thanks for your thoughts Ken and Paul,........all that remains is to go home ,realise those thoughts and spend some time putting it all together.
Just one thing Paul ,what do you mean by the left "C"?
I must say that my original flute teacher who played with the Sydney Symphony Orchestra was a great devotee of William Kinkaid and I think I have his book somewhere. Thanks again ..and I will keep you posted about how its all going
Peter
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Author: Paul Aviles
Date: 2012-02-16 09:00
Sixth full measure from end of solo into the fifth full measure before the end..........vented 'D' (in my case) followed immediately by 'C.'
And I think I would take the 'Bs' on the left as well (I really like the left !!!).
................Paul Aviles
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