 The Clarinet BBoard
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Author: Brad
Date: 2001-02-22 05:21
I usually just like to read all the posts on this website, well basically because I don't have anything interesting to say. However, something happened to me, and I don't know if it is really a bad thing. I had solo and ensemble last weekend and I just got back the scores. Well, it turns out that I got a red ribbon gold medal for the duet and I didn't get a medal for the solo (the judges were different) I had worked really hard on the solo, and my teacher had said the judge was fair. I got a div. 3 rating, which is like just out of getting a red. I don't know about the score though, because in the six categories, four are rated div. 2 and 2 are rated div. 3. Does that sound a little weird to you? Why did the judge give me a div. 3 rating, and because she did, why didn't she just give me more 3's? (btw: the piano was really sharp)
Tone: (II) Work on focusing your sound more. You have a nice full sound that needs more focus.
Intonation: (III) General intonation w/ piano needs to be worked on; especially throat tone and low register.
Technique: (II) Generally good, esp. mm 41-45.
Rhythm: (II) Don't rust on 16th note runs (mm. 32-33). Rhythm, pulse get better over time.
Musical Effect: (III) Nice execution of piece, however the musical effect marred by intonation problems.
Ensemble: (II) Fine
Rating: III (I, II, III, IV)
I played the first movement of the Saint-Saens sonata with piano. Yeah, I am sort of disappointed with my score, but what should I do about the final rating and the other scores? Can the judge do that, or should I talk to my director or someone else about it? I was sort of thinking maybe she weighed musical effect or intonation more than the others. Also, why did she include the intonation problem in the musical effects section? It doesn't seem like musical effect(artistry, dynamics, style, interpretation have anything to do with intonation) Um...thanks for reading and also for any insights you may have.
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Author: Mark Charette
Date: 2001-02-22 05:49
That's the way life is ... the judges score is final. Looking at the sheet it appears that you had some real problems with intonation, which can really hurt everything. The piano being sharp is no excuse for a woodwind player - you've got to be ready for anything. Next time make sure that you match the piano - take some time before playing to work with the piano - have the accompanist play some scale and match them. The piano has no chance to get in tune - it's your job to work with it. That will come with more experience.
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Author: Don Poulsen
Date: 2001-02-22 12:57
Is the score fair? I don't know. Can you get it changed? Extremely doubtful.
Similar to what Mark says, I would suggest that next time you take time to tune to the piano. Just as an example, I play regularly with a community band. I usually can keep the neck of my bass clarinet pulled out the exact same amount and still be in tune, with the band and whatever electronic tuner we happen to use, from week to week. However, when I would go rehearse some Christmas music with a small orchestra at a church, I would find myself way out of tune with the piano they were using and need to adjust. Was the piano out of tune? I doubt it. It was probably just tuned a little differently but still in tune with itself.
Learn from the situation so that next time you will do much better.
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Author: William
Date: 2001-02-22 14:41
I do a lot of adjudications for our state's music association and, in my opinion, four IIs and two IIIs should have given a second division (II) rating. Also, in my opinion, the musical effect caption should not have been reduced a second time by the intonation opinion which had already been judged. In our state, we have a point system that determines the final rating on cards where the ratings given are very close. That prevents an adjudicator from giving a rating based on personal bias rather than real score profiles. You might want to check with your music festival association to discover if such a system exists and, if in fact, an error was made in your final rating. Bottom line, however is, next time, be SO PREPARED that there is no doubt in any judge's mind that the only rating you deserve is FIRST DIVISION!!!!!!!!!!! Good clarineting.
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Author: Ken Shaw
Date: 2001-02-22 16:09
Brad -
You've learned something important. No matter how well you play in every other area, if you're out of tune, nobody hears it. Unfortunately, you don't have a second chance, but you can put the lesson to good use. In the long run, the judge did you a favor, pointing out a problem that you didn't notice.
When you get up to the front of the room and a strange piano, part of your job is to check your tuning, not just on a concert A (middle line B on a Bb clarinet), but on other notes that may cause problems. Your first note in the Saint-Saens Sonata is first space F. Therefore, you need to have your pianst play the equivalent piano note (Eb). This note is often sharp on clarinet, and you need to pull out until it's exactly right. (Better yet, you can go into the room before the contest gets started and check your intonation with the piano.)
Here's a well-known story. The principal flutist in the Boston Symphony for many years was Doriot Anthony Dwyer -- a truly great player. She was the first woman principal player hired in Boston, so she had to be extra good. What made the strongest impression on the audition judges was that she initially checked her intonation on multiple notes, and not just on an A. That showed them that she really knew and cared about intonation.
You also got gigged on tone quality. Once again, the judge did you a favor, pointing out something you need to work on. From what the judge said, your tone seems to lack "center." That is, it's smooth, but doesn't have enough high frequency energy.
To me, a tone that is centered has what some teachers call an "edge of reediness" in it -- that is, a small amount of high-frequency "ping" that is not separately audible but gives the tone more color, energy and carrying power. Pipe organ players do this by adding very soft high frequency pipes at the various overtone pitches, which are not heard separately but blend into the lower basic pitch.
You can practice this with an exercise the great teacher Keith Stein showed me many years ago. Stand in a corner of the room facing the intersection of the walls. Play a low E fff and gradually decrescendo. At about mf, you should start to hear the middle line clarion B. Concentrate on the B, keeping it strong as you fade the E down to ppp. Toward the end, the B should be just as strong as the E. It may take several tries. It helps to use a slightly softer reed than usual. It also helps to push up with your right thumb, to put a little more reed in your mouth. Finally, make sure only about half of the red part of your lower lip is over your lower teeth. Anything more kills the high frequencies.
Do this several times to get comfortable. Work on it so you can begin the E mf with the B already present and audible, without facing into the corner.
Then play the low F, listening for the clarion C, and then F#/C# and G/D. Above that, it's possible but more difficult.
Some people say you can also hear an altissimo Ab above the low E, A above the F, and so on.
Remember that only you can hear these overtones. Other people will hear them only as increased color and resonance.
Think of it as a gleaming gold thread running through the middle of the sound.
When you can reliably create the "center" in your sound, you can use it as a focus, "leaning" against it to make your sound carry at low dynamic levels. It's the "right" sort of resistance -- not physically having to blow hard, but focusing your effort on the high energy part of the tone and keeping it strong regardless of the dynamic level.
Best regards.
Ken Shaw
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Author: Gordon (NZ)
Date: 2001-02-23 12:17
I've never heard it explained that way. Thanks. It is so common to hear words like "centre" and never amnage to work out what they mean. At least to you it seems to mean to introduce more volume in uppper partials.
I reckon most students would be afraid to ask what is meant by "centred" tone (or a whole host of other words) for fear of sounding ignorant.
Now is my perception true that the MAIN factor (apart from keeping a slim lip cushion) involved for getting strong upper partials is to maintain as high air pressure as possible, whatever note is being played?
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