 The Clarinet BBoard
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Author: as9934
Date: 2015-07-01 00:29
I am working on the Mozart Clarinet Concerto right now and it sounds pretty rough, but I'm not really sure how to make it a lot better. My big problem are tempo and accuracy on complicated sixteenth note passages. Will anyone be wiling to listen to a recording of me I took on my phone and give me critiques on how to make the piece better? I would ask a teacher but my family can't afford to pay one, especially with my crazy schedule.
Here is the link; https://soundcloud.com/ari-sen-2/mozart-clarinet-concerto-mvt-1-rough-draft
Thanks for helping me out!!
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: GBK
Date: 2015-07-01 00:49
Were you sight reading? It certainly sounds like it.
I would suggest to take down the audio, work on the piece and then post a clip reasonably approaching something listenable. This performance does you no favors.
It was far too rough to offer constructive help until you've worked out the basics of notes, rhythms, tempos, etc ...
Find a good Mozart Concerto recording on YouTube as a starting point to get the feel and style of Mozart.
BTW - A softer, more responsive reed is also in order.
...GBK
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Author: ClarinetRobt
Date: 2015-07-01 02:17
Yes, look at the basics: Notes, Articulations, Rhythm and do some good old fashion wood shedding to get your technique sorted.
That moment when everything is clean, re-post, and I'm sure everybody would love to have a conversation about musicality...possible thoughts on interpretation and style.
Good Luck...it's going to be terrific!
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: kthln.hnsn
Date: 2015-07-01 02:23
Been there, I was not able to afford lessons when I was your age either. But hard work and dedication got me exactly where I wanted to be in my musical career The problem you'll face not having a teacher is you won't have that immediate feedback from another person and your band director can only get you so far as they are not always a wind player. You'll also need to learn to peruse other types of resources such as online or searching for books. You've made a good choice at least asking on here. You'll just have to forgive some users as they are professionals and perhaps aren't used to listening to a beginner.
Be sure you're using enough breath support and that you are covering the tone holes as well, those are probably two big reasons why you're squeaking.
Use a metronome! Start at a quarter note equaling 60 beats and work your way up from there to the correct tempo. My biggest issue in my early years was that I was in such a hurry to learn all the clarinet repertoire that I learned it but not well. You need to be patient and take small sections at a time.
I recommend 17 Staccato Studies by Kell for you to learn proper technique in tonguing.
Also listen to recordings, Youtube is a good venue for that. Listen to a professional clarinetists style and watch them how they phrase their playing in their body language as well.
I'm sure others will add more, but don't be disheartened and you absolutely must learn to take criticism well. You're going to get criticized here and there throughout your career (whether you truly deserve it or not) so learn to deal with it and more importantly learn from it
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Author: kdk
Date: 2015-07-01 02:43
Among the many areas where you need work, the worst problem is basic rhythm. There's no pulse. The movement is written in 4-quarter meter, but it would be hard to know that from the recording. You don't need a teacher to tell you how to "count" this piece, but you have to do it.
People have different attitudes toward using a metronome, but I think absent a teacher to tap a beat on your music stand to keep you in meter, you haven't much choice but to get one out and use it. But don't even think about setting it to anything like a performance tempo at first. Set it slowly, not for the notes, but to make sure your whole, half, quarter, eighth and sixteenth notes (and their dotted versions) all fit correctly. Don't speed up toward a musical tempo until you have the basic durations worked out. An electronic metronome with a different sound on the first beat may help you catch errors.
While you're playing slowly, you should look at the actual written notes in the scale and arpeggio passages to make sure you're playing what's there and not what you think is there.
Good luck. Slow down and practice deliberately and methodically. Pay attention to basics - rhythm and notes.
Karl
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Author: as9934
Date: 2015-07-01 05:02
Thanks everyone!!! I have been listening to various recordings on YouTube (Frost, Morales etc.). I know its really bad, and I didn't play it on my best reed. I've been meaning to get some more but I am pretty broke right now. Looking at either Zonda Supremes, Vandoren V21 or a Legere.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: Paul Aviles
Date: 2015-07-01 05:18
Well, I liked the "F#" in bar 109.
You're ok in my book.
.............Paul Aviles
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Author: kdk
Date: 2015-07-01 05:26
as9934 wrote:
> Thanks everyone!!! I have been listening to various recordings
> on YouTube (Frost, Morales etc.). I know its really bad, and I
> didn't play it on my best reed. I've been meaning to get some
> more but I am pretty broke right now. Looking at either Zonda
> Supremes, Vandoren V21 or a Legere.
>
Ari, you don't need a different brand. You need one that plays better. If this wasn't your "best reed," I'd suggest that you shouldn't record with anything *but* your best reed, especially if you're going to put it out on the web.
If you already have other reeds available at home, try them out and see which ones work well and which don't. If none of them plays well, then either you have the wrong strength, there's something in the way you approach the mouthpiece with your embouchure or there's something wrong with the way your fingers are landing when you play those passages that's causing the whole thing to be unstable. You shouldn't be willing to accept those squeaks when you play and certainly shouldn't chalk them up to its not being "your best reed."
Do you squeak like that when you're playing loud so the section won't sound anemic (from the thread about playing loud)? It's hard to tell how loud you're actually playing in the recording because there is nothing to compare to, but if you're blasting on a poorly balanced or too hard reed, that in itself might possibly cause the squeaking.
Karl
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Author: locke9342
Date: 2015-07-01 10:57
I think you should just take a metronome at 60 and practice like 2 lines for a few days or more depending on how much work it takes to get it perfect. Keep slowing it down until you can play it 5 times in a row perfect then bring it up by about 5 bpm. It sounds like you just went through and barely learned all the notes poorly instead of learning each bit well
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Author: as9934
Date: 2015-07-01 21:00
Hey Karl,
I really don't normally squeak at all. In normal rehearsals and concerts I play with good volume and nice tone very confidently. For some reason when I play for a recording or for an audition I get really nervous and don't play as well. I really don't know why because I can feel very confident going into the piece, and play it well in practice, but when I go into that room or hit record well who knows what's going to happen. I wouldn't really call it stage fright because I play fine on stage with my band or when I go to play the scales and sightreading.
For those who were wondering no this is not my first time playing this piece, but it is my first time playing the second half of it. OriginallyI had played from measure 57 to measure 127. I had prepared it for Solo and Ensemble MPA to were it sounded decent, but then screwed it up in the room and got an Excellent. I haven't touched it much since early may though.
Somebody mentioned the Kell Staccato Studies; Anyone have a PDF or link were I could print these?
Clarification about the reed. It probably needs to be thrown out. I hadn't given up hope on it because it is one of my Reserve Classics and I like playing them more than the Grand Concerts I have. I'll chuck it today.
I appreciate all the tips and critiques you guys are giving me. Today I am going to work on 57-67, at a nice slow tempo like you guys told me too.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: Morrigan
Date: 2015-07-01 21:17
It's far too early for you to be working on this piece. A great introduction is the Four Church Sonatas, and a teacher. PLEASE get a teacher, it sounds like you're keen and want to make progress and a good teacher will facilitate this.
I'm sure I was at the stage you are now - I remember my first lesson with a 'serious' teacher. I played the 1st movement of Weber's F minor concerto. He laughed and asked was I seriously trying to play what was on the page?! I'd never felt so humiliated but he helped me progress quickly and here I am earning a living playing the clarinet.
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Author: as9934
Date: 2015-07-01 21:23
Morrigan wrote:
> It's far too early for you to be working on this piece. A great
> introduction is the Four Church Sonatas, and a teacher. PLEASE
> get a teacher, it sounds like you're keen and want to make
> progress and a good teacher will facilitate this.
>
> I'm sure I was at the stage you are now - I remember my first
> lesson with a 'serious' teacher. I played the 1st movement of
> Weber's F minor concerto. He laughed and asked was I seriously
> trying to play what was on the page?! I'd never felt so
> humiliated but he helped me progress quickly and here I am
> earning a living playing the clarinet.
>
I would really like to get a teacher but unless they are like $50 a month and are willing to meet on different days and live in the Asheville area, then I'm out of luck. Nor can I afford the four church sonatas. I am playing the Mozart because that's probably what I'm going to be playing for my college auditions.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
Post Edited (2015-07-01 21:26)
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Author: Paul Aviles
Date: 2015-07-01 21:41
Ok look, I see this as a beautiful opportunity for a bunch of you to gain invaluable experience learning.
What you do is find other student clarinet players out there willing to "coach" you along (the better players at your high school, another high school, the local college etc). As young players themselves they may not even ask for monetary remuneration. It is in fact well known that TEACHING an instrument is one of the best ways to learn it. So you may be able to wrangle some more cooperation using that angle (the smart ones will realize this instantly).
I don't necessarily see the Mozart as something to avoid. I started learning the Mozart by ear very early on. In fact I had no idea how to read music when I was already pretty good at the first movement. This totally caught my teacher off guard when he pointed to a specific measure and I insisted on starting at a major entrance. He finally said in completely amazement and exasperation, "You can't read music!!!"
So get the help (free is best in this situation) and work diligently on rhythm (which is basically just defining a length of time with sound).
And keep us posted on your progress !!
..............Paul Aviles
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Author: as9934
Date: 2015-07-01 21:47
Unfortunately, there really isn't someone a lot better than me in our clarinet section currently. I almost wish there was. Our section leader last year just graduated and is going to FSU to study music performance. She would help me a lot, especially with this piece, because she could play it really well and had a good teacher. I would love to find someone at a college or at another school, but the likelihood of me meeting with them regularly is going to be pretty rare. There is one guy in our section who may be slightly better but not enough to where he could point out a lot of stuff.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: Bennett ★2017
Date: 2015-07-01 21:59
Best is to get help from another clarinetist but any other instrumentalist can help. Rhythm, articulation, phrasing, dynamics are all part of playing piano, violin, trumpet, etc.
My clarinet teacher occasionally gets string players who want help with all the other aspects of playing besides moving their fingers and bow.
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Author: as9934
Date: 2015-07-01 22:14
Just finished practicing. Got from 57-69 sounding good at about 90bpm.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: Paul Aviles
Date: 2015-07-01 22:17
You mention Ashville but your web server is in Albuquerque, NM. Where do you need a teacher?
.............Paul Aviles
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Author: as9934
Date: 2015-07-01 22:40
I live near Asheville but my dad lives in NM, so I'm out here for a month. While I'm here I may get to meet with a clarinetist from the Sante Fe Opera and ask her for tips, but I really need a teacher in the Asheville area and all the ones I have looked at are either a) to far away b) to expensive or c) to inflexible.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: kdk
Date: 2015-07-01 22:53
as9934 wrote:
> Just finished practicing. Got from 57-69 sounding good at about
> 90bpm.
>
But, is it accurate? It can be 30 bpm or 180 bpm. If it's wrong notes and wrong rhythms with no sense of pulse, the tempo doesn't matter.
You're still sound like you're trying to reach fast. You need to be much more correct than you were in the recording. Especially if you plan to use this as audition material.
Karl
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Author: locke9342
Date: 2015-07-01 23:29
I think your making a comment mistake a lot of people do and speeding up to quickly, I would record my self to make sure I wasn't fooling myself. Also you mentioned you can't afford some music, there are tons of great free music online you just have to find it.
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Author: kdk
Date: 2015-07-02 00:10
Morrigan wrote:
> A great
> introduction is the Four Church Sonatas,
Tim,
Which sonatas do you mean? I don't know them, but when I Google them I get a list of 17 with several different Koechel numbers. Most are (originally) for 2 violins and continuo, some with organ obbligato. A few are for larger chamber ensembles. Are these what you meant or is there another set of four specific ones? Do you know of transcriptions for clarinet (making my own is no problem, but why reinvent a wheel that's already been built?)?
Karl
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Author: brycon
Date: 2015-07-02 00:24
Maybe explore distance lessons, through Skype or FaceTime. Two half hour lessons a month would run you $50, and there wouldn't be the problems of traveling or scheduling.
Even if you have the greatest reed known to man and you practice really slowly, you're only going to sound marginally better. The bboard won't help you, other high school students in your area (who probably have many of the same problems you do) won't help you, nor will prosaic étude books help you. You need a competent player/teacher to work with you.
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Author: as9934
Date: 2015-07-02 00:26
I made multiple recordings of myself with a metronome. The notes and rythms are accurate, or at least they are to my ear. I'll upload to soundcloud later. I started at 60bpm and made sure everything was correct by playing it at least three times perfectly. Then I repeated the process 10bpm faster each time until I got to 90bpm. I also spot checked passages that were giving my fingers some trouble. I stopped at 90 because it was the fastest I felt I could play it well. I have looked for free music online but I'm unsure as to what I should get. I normally just print what I need, or some transposition of music I might want to just mess around with. I had some Rose Etudes awhile back that I would work on but they disappeared.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: Hank Lehrer
Date: 2015-07-02 01:01
Ari,
Here is something that you need and it is free. Go to this website and look at Clarinet Solos and find the 32 Etudes by Rose and download it.
http://www.clarinetinstitute.com/pdf%20archive.htm
Learn to play #1 before going any further with the Mozart. Many of us on his BB have played this one etude over and over for our teachers. Several of the BB members studied with Daniel Bonade. I studied with student of his and the notion of slow careful practice is critical. I'll not get into the finger motion right now.
Slowly practice arpeggios, scales, and exercises. You must learn the pedagogy of the clarinet first. Then you can move on to something in a solo.
Practice the first 18 measures until you have it perfectly prepared. Then record it and post.
Good Luck,
HRL
Post Edited (2015-07-02 01:07)
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Author: as9934
Date: 2015-07-02 04:04
HRL,
I didn't know the etudes were available online for free but I have been meaning to play them for awhile so it is nice to get my hands on them. I'll do some work on that first etude and post progress on my soundcloud.
As promised measures 57-69 of the clarinet concerto at 90bpm; https://soundcloud.com/ari-sen-2/mozart-clarinet-concerto-mvt-1-57-69-90bpm
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: Titus
Date: 2015-07-02 06:50
i do think you have a nice tone, but use a lot more air when you practice!!! That's the big thing. Have more presence with your tone too, and say something. You can sing the piece, imagine a story, something. That helps me tremendously. Also, when you are practice (anything from Mozart to Stravinsky), incredibly slow practice is helpful. I do think practicing from baermann/Albert and things like kell will be good. Best of luck!!!
Post Edited (2015-07-02 06:50)
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Author: Morrigan
Date: 2015-07-02 10:05
Four Church Sonatas, arr Yona Ettlinger, Boosey & Hawkes. Much easier than the concerto but a great introduction to the style and skills required to play it. In fact there seems to be some direct quotes in there!
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Author: Paul Aviles
Date: 2015-07-02 13:24
I'm working on an idea about lessons........more later.
The snippet is better (last long note not held long enough and one of the first entrances started late). For me rhythm is really really simple. Let's say you are playing quarter notes at 60 beats equals the quarter. Just sing (or play) one note at that length (from click to click on the metronome). Now shut off the metronome and sing (or play) that note again. I am SURE there should be no problem remembering (and I mean REMEMBERING) how long that note you sang is. I also mean this in isolation. That means, go off and do something else for awhile (play checkers, eat an ice cream cone - anything) and come back and try to play another note (one) the same length you did ten minutes prior. And I bet it will be pretty darn close.
Point being that all you have to do is string those together now. Play four or eight of the those notes all the same length in a row (la,la,la,la). THAT'S good rhythm! You can get all technical about it such as, each one second long note has to be exactly one second long, not one being 1.02 seconds long or the next being 0.98 seconds long........but you can HEAR (remember) that difference better than you think you can! That's the secret to great rhythm.
................Paul Aviles
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Author: Paul Aviles
Date: 2015-07-02 20:17
Yeah, you are in the middle of nowhere there in Ashville. I couldn't find a conveniently located Army Guard or Reserve Band less than 2hrs from you. Maybe though you could contact the University of North Carolina Ashville. They employ adjunct professors there (such as Steve Alford-woodwinds, and Jacob Rodriguez-saxophone). Even if you only do one or two lessons a month with a good teacher, it will help immensely!
Contact Information for UNCA:
107 Lipinsky Hall, CPO 2290
One University Heights
Asheville, NC 28804
Office: 828.251.6432
Email: music@unca.edu
Hope this helps.
..........Paul Aviles
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Author: Jack Kissinger
Date: 2015-07-02 20:23
Karl,
The four Church Sonatas Yona Ettlinger transcribed are: No. 2, K.68; No. 1, K.67; No. 10, K.244; and No. 17, K.336. The original scores and parts are all on IMSLP. I expect the clarinet parts are mostly transpositions of the 1st violin parts in the first three and the organ part in the last one with perhaps other adaptations and adjustments. There are recordings of the originals on Spotify and probably Naxos. If you like music from the classical period, I think you would enjoy these.
Ari, what year are you in school, how much do you practice and what are your musical goals with respect to college?
Best regards,
jnk
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Author: as9934
Date: 2015-07-02 20:58
jnk,
I am a rising senior in high school and I would like to maybe play in an orchestra or other smaller ensemble in college. I do not want to major in music, but I would like to continue playing the clarinet. I am practicing everyday for about an hour, although previously I was practicing much less. In August I will be going to band camp which will consist of 4-8 hours of playing everyday plus any additional practice time I want to devote.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: as9934
Date: 2015-07-02 21:45
"Now, as far as the expensive private teacher goes, I'm going to go a bit harsh on you here. There are many young students whose families are impoverished. You are playing too expensive a clarinet if you can't afford a teacher. If you really need a teacher, then that is more valuable than an E11. My brother could whip through that Mozart on his plastic Bundy and smoke your buns when he was 13 years old and he had no private teacher either, no internet examples and no internet forums, no sound cloud and no smart phone. It was 1971, and IMO, the school musicians of that era played better than most do now.
So no teacher is no excuse. With woodwind lessons here going at $40/ lesson, you could trade a lot of your clarinet price for lessons. I get by with a 1950s Penzel Mueller, and I certainly would not trade it to you for an E11, but that is a whole other can of worms. What I am asking you to evaluate is the object (clarinet) vs. the intangible value of a "teacher". Then think very hard about what makes you happy in music. What helps most, the E11 or the teacher? Is it possible for you to do it yourself? Could you sacrifice for the value of the teacher some of the instrument value? Is that even necessary with all the resources you have? That is a thought exercise for you because if you love music, you will have to do this exercise many times."
I want to push back on the fact that my instrument is really nice- its not. We got it used, for about $500 about two years ago. That cost was split between my grandmother and my mother. It had at least two previous owners. Its from sometime in the late 70's. The case is absolute crap. Its completely falling apart. So no it's not a brand new $1200 one. I was given my mouthpiece as a christmas gift. I would certainly like to find a teacher, but am I giving up my instrument-no. What makes me happy is playing, and the sound I create on my instrument. I don't consider myself impoverished, in fact I am pretty lucky, but in our current financial situation we probably couldn't afford to pay for weekly lessons, especially with college application fees, ACT fees, marching band fees, swimming uniform costs and the numerous other costs associated with me being a senior in high school. I could however probably afford one lesson a month. Paul, I will look into the lessons at UNCA. Thank you for collecting that information!!!
"There are some tone exercises that can help you improve the higher notes. I like to do what I call long jumps. Play a low note and then jump to the high one either an octave up or just use the register key. Start at the bottom (lowest notes) and go up doing this and then come back down. Then skip around to the places that gave you the most trouble and concentrate on those. It is very good exercise for pieces that move quickly between low and high register."
I do these occasionally in my practice but I will start to incorporate them more regularly.
"I definitely hear you struggling against a stiff reed. Many of the notes are thinned as you get into altissimo and there are some that just squeak by. I like the LaVoz mediums lately on a Vandoren 2RV, which is a vintage version of something they now call something else. A 3.5 is obviously too stiff for your set-up. If those are all you have, you can polish them thinner with fine sand paper or I prefer scraping them thinner with something straight and sharp. If you have access to single edged razor blades those are best, but I think even a straight sharp kitchen knife could do the job. Work the area between the tip and the more closer to the round end, and don't get in a hurry. Check the progress as you go."
The reed was not too stiff, in fact it was just the opposite. It had lived out its life and was a piece of crap, so I threw it out. The second recording was made on a better reed. What you may be hearing is apprehension of me playing for the recording.
"I am also going to recommend that you investigate using a string tied ligature. The metal ones always gave me variable results and if they pinch the reed too tight, it will result in many of the tonal issues I hear in your playing;- mainly uneven response and stuffy notes. There are some good videos, and just use whatever kind of string you have handy at first. There is great string available but learn how to tie the ligature first. Don't fret about it, all the best German players do it routinely. Any time you are having these tone problems with notes, it is good to check out your mouthpiece, reed, and ligature set-up and make sure all that is as should be. There are very good youtube videos about where the reed should be set. Review those."
I will look into this but the ligature I am currently using is designed for use with this specific mouthpiece, so I am apprehensive about using anything else. When I return home to asheville I will look and see how my Rovner sounds.
"It's also a good idea to simultaneously go out and dance. Most musicians will be experiencing some kind of body motion or "dance" while they are playing. This helps get a grasp on the rhythm and also keeps you relaxed while playing. Even if it is nothing but a toe going up and down, get something dancing in you."
I do this every once and awhile but i always get strange looks. Definitely something I can do at home though.
Also going to start soaking my reeds in water because of the dry climet here in NM.
Thanks again for everyone's advice!!!
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: Paul Aviles
Date: 2015-07-02 23:45
Thanks for the kind words. I think other video teachers have covered that market. Nothing replaces the feedback one gets from the extra pair of ears in the room. Of course teachers can miss really critical issues too mind you, but there is no substitute for seeking out the opinions of someone with more experience.
Also hearing fine clarinet players LIVE, in person is also important. You can't really judge what is going on through a recording (even the best playback equipment is woefully inadequate in capturing the sound of a musical instrument). So you take THAT sound (the live sound) and then work with your mentor on how best to achieve that.
.............Paul Aviles
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Author: as9934
Date: 2015-07-03 00:00
"Let me digress for a moment and digest your posts more carefully. You just moved a wooden clarinet from the Blue Ridge to the desert. YIKES! If you have nothing better than olive oil from the kitchen shelf, a coat hanger and a paper napkin, OIL THE BORE NOW! But do it sparingly and carefully. But do it if that E11 is your best friend."
I just oiled it. It is really a wonderful instrument, and I throughly enjoy playing it, especially with the setup I have now (E11, CL6 13 series, Pewter M/O, Reserve Classic 3).
"I made the assumption about the reed based on what I heard and on your listing of 3.5 reeds, which are OK sometimes but depending on the brand can be quite stiff. When they are dead, chuck them. The desert will probably eat them faster than the Blue Ridge did. Playing more often will keep them nice and wet."
I should clarify. I am playing on D'addario Reserve Classic 3 not the Grand Concert Select Thick 3.5. I have both in my reed case but I pretty much always play the Reserve Classics now, because they play better with my CL6. I got the Grand Concerts back when I was still using a 5RV. I am going to start soaking them everyday before I use them, because they sound much better that way.
Just uploaded 57-75, 68-75 and three sightreading attempts at the Rose Etude 1. I will dig into the Etude a little more tomorrow. I practiced with the metronome, but it almost got in the way, especially in the 16th note passages in the concerto. The uploads are all without the use of a metronome.
https://soundcloud.com/ari-sen-2/68-75a
https://soundcloud.com/ari-sen-2/mozart-clarinet-concerto-mvt-1-57-75
https://soundcloud.com/ari-sen-2/rose-etude-1-sightreading-attempt-1
https://soundcloud.com/ari-sen-2/rose-etude-1-sightreading-attempt-2
https://soundcloud.com/ari-sen-2/rose-etude-1-sightreading-atemmpt-3
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
Post Edited (2015-07-03 00:02)
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Author: as9934
Date: 2015-07-03 01:53
"I found this article to be interesting considering the musical choice discussed:
https://en.wikipedia.org/wiki/Basset_clarinet"
I wish I had a basset. Or even just an A clarinet. Might get a nice A clarinet during or after college.
University of North Carolina at Chapel Hill Wind Ensemble
Buffet E11 clarinet , Vandoren Masters CL6 13 series mouthpiece w/ Pewter M/O Ligature, Vandoren V12 3.5
Yamaha 200ad clarinet, Vandoren B45 mouthpiece, Rovner ligature
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Author: kdk
Date: 2015-07-03 04:42
as9934 wrote:
> Just uploaded 57-75, 68-75 and three sightreading attempts at
> the Rose Etude 1. I will dig into the Etude a little more
> tomorrow. I practiced with the metronome, but it almost got in
> the way, especially in the 16th note passages in the concerto.
> The uploads are all without the use of a metronome.
>
Ari, I have to ask - why are you posting sight-reading? Even by the third try, your beat isn't consistent, you're playing notes that aren't there and leaving notes out that are. And I only listened to the first 16 bars
Have you listened to the recordings? Listen carefully to "attempt-3."
First of all, you sound like you're playing in cut-time. The etude is in 4 beats per measure. Andante isn't nearly as fast as you're playing the first three bars. You're almost twice too fast for a good andante for this study. But then, when you get to the 16th notes in bar 4, you basically half the tempo, so the 16ths are nearly the speed 8th notes should have been (if there were any) in your beginning tempo. You don't play the notes accurately in bar 4, bar 7 or 8 and the 8ths in bar 7 are the same speed as the 16ths in bar 8. You're stopping way more often than breathing would require, so it must be that you're stopping to mentally process notes, which you should take care of before you start to record. That's just 8 measures.
My advice, which you're certainly under no obligation to take, is to turn off the cell phone recording app and really, seriously, carefully practice this - not just "a little more" - and then record it and listen to the recording yourself before posting it. If what you hear sounds like what's in the printed music - played smoothly in a consistent tempo with all the notes that are there and none that aren't and with no breaks except ones when you need to breathe - that's when people here can actually offer helpful advice.
>I practiced with the metronome, but it almost got in the way, especially
> in the 16th note passages in the concerto. The uploads are all without
> the use of a metronome.
If it "almost got in the way" in the 16th note passages in the etude, it's because you aren't making the click slow enough to play the 16th notes cleanly. But, if you slow the pulse (with the metronome) down enough to be accurate with the note-y stuff, you have to use the same pulse with the quarter-notes and half-notes so everything is in the right proportion. The first 3 bars would be **much** slower than you're playing them. If the metronome is "in the way" it's because you're not staying with it. Once everything in a finite section (say, those first 8 bars) is clean in a consistent tempo, you can speed the tempo up in stages for the whole section.
When a student comes to a face-to-face lesson, I can help by correcting things, measure by measure, even note-by-note if needed. I can tap a beat, have him sing rhythms, isolate and practice passages that aren't right, have him repeat corrected passages until they're comfortable and, generally, help him practice as I listen ("monitored practice" in teaching jargon). Trying to do basic correction here using recordings isn't nearly as effective because you aren't getting the feedback in real time.
The things that I've been calling to your attention aren't clarinet issues. They concern basic reading. So any competent musician could listen to you and help you to read the written part better. You could get a lot from your band director or a college student (of any instrument) or a local community band player (of any instrument) - there's nothing clarinet-centric about playing the right rhythms, keeping a steady tempo or playing the right notes. What is most important is immediate, real-time feedback so that you don't practice your mistakes and get used to them. It wouldn't have to be a weekly "lesson." One or two sessions, if you really work something out, could make a difference in your whole approach that you could apply to the next piece you work on. Then you could arrange further sessions as you need them and can afford them if a fee is involved.
There are recordings of these etudes at YouTube if you want to listen to a model. But don't let imitating a model substitute for reading the music for yourself. It can be easier, though, if you have a correct image in your mind to start with.
Karl
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Author: Hank Lehrer
Date: 2015-07-03 05:55
Ari,
As I said earlier in my post "Practice the first 18 measures until you have it perfectly prepared. Then record it and post.
Here is a link to a recording for you.
https://www.youtube.com/watch?v=uM6pas-I934
HRL
PS I do not hear you articulating notes cleanly; you sound as though you are not using your tongue on many attacks but instead are using just your breath to begin a note.
Post Edited (2015-07-03 06:06)
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Author: Jack Kissinger
Date: 2015-07-03 07:25
SiS, You seem to think that bore oil (and lots of it) is the cure for low humidity. Where did you get this idea? Did you read it somewhere or did you just make it up?
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Author: Owen
Date: 2015-07-03 09:35
Wow, this thread went downhill fast.
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The Clarinet Pages
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