 The Clarinet BBoard
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Author: sarawashere
Date: 2015-06-24 04:40
Hi,
So I'm new here. First post, although I've been reading around here for a while. I'm working on the 1st Weber Concerto for an audition for a college ensemble. I'm terrified, but that's another issue. Anyway, I'm having a lot of trouble with a few things:
1. The third movement in general, getting things up to speed is a problem.
2. The ascending staccato passages. The notes seem to blur together and sound sloppy. Any advice for clarifying staccato in general?
3. In the third movement there are a lot of fast slur-two staccato-two rhythms in the range of clarion G to clarion C. Usually this range doesn't give me any trouble and I can slur the whole thing without having any major tone issues, but when I add in the staccato portions my tone just goes to hell. It starts to sound very airy and pinched, like it does when you aren't using enough air even though I feel like I'm using the same amount of air as usual if not more if that makes any sense? I've tried several things to fix it (long tones, tonguing everything, slurring everything, slowing it down, more mouthpiece, less mouthpiece, etc.) but nothing is working.
My audition is in two months and I'm starting to panic a bit. Any advice you have would be amazing and greatly appreciated.
Thank You,
Sara
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Author: DaphnisetChloe
Date: 2015-06-24 05:34
Practice the difficult passages in the 3rd movement slowly, e.g. at crotchet = 60 and play the notes which would normally be staccato very long, with a very quick, light articulation on the beginning of each note. When up to speed, it is fast enough that it isn't necessary to actually play each semiquaver staccato, in the runs. Rather, playing the notes long with the tongue starting each successive note in turn will enable you to play at the desired speed. Also, make sure you are always blowing a steady flow of air through the clarinet, especially while playing these staccato passages.
For the 2 slurred 2 tongued passages, it isn't necessary to actually play these articulations. Weber would have left it up to the performer to chose their own articulations when the piece was written. You can play them all slurred, or all tongued or any other combination, as long as it sounds convincing and you are comfortable with it. If you really want to play the 2 slurred 2 tongued articulation, practicing the passage at a variety of different tempos all legato, aiming for the best possible connection between each note will help. After doing this for a few days, you can reintroduce the 2 slurred 2 tongued articulation at a slower tempo. And then gradually speed it up.
I hope this helps!
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Author: Paul Aviles
Date: 2015-06-24 06:15
Interesting that you note the introduction of the tongue makes things different. It probably is different. Firstly the action of the tongue is not a quick thrust forward (you do not attack the reed), but rather a placing of the tongue on the reed and a deliberate quick RELEASE of the tongue off the reed.
You may have that part down. So it could also just be "nerves." You are self conscious of not tonguing as fast as you think you should go and tense up. This can manifest itself in all sorts of unconscious actions such as moving the jaw on each articulation (check in a mirror, this might look like your chewing your way through a tongued passage). Or you are just squeezing to much through the tongued passages (you do say it sounds pinched - check this on a tuner; make sure your'e not pushing sharp as well).
If any of that last bit is happening, just RELAX; play the way you play slurred (watching yourself in the mirror) and reintroduce the tongue at various spots concentrating on keeping the embouchure, tongue and jaw steady; don't change a thing (except for the part where you damp the reed with your tongue); just relax.
.................Paul Aviles
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Author: JHowell
Date: 2015-06-26 16:30
It often happens that when a student is faced with a challenging piece, he or she immediately begins to work ONLY on that piece and neglects scales, etudes, exercises. Is this happening with you? What you describe sounds like a fundamental problem; there is nothing in Weber 1 that would cause issues with articulation, so I would advise that you examine the sound/articulation relationship away from the concerto and spend plenty of time on fundamental technique. Two months is a long time, way too soon to panic. Practice the passages slurred for now, perhaps, while you find the right tongue position, etc. for that register, then reintroduce it gradually while maintaining your BEST sound.
What does your teacher say?
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Author: sarawashere
Date: 2015-06-29 11:56
Hi,
Thank you guys for all of the help! My teacher isn't too concerned, he says that a lot of it is probably just general stress for auditions (I fear auditions with every bone in my body), but yeah... I love the piece, and I just want to do it justice. I will definitely spend more time on the fundamentals though, I have noticed that I've been slacking on those lately.
Thanks!
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