 The Clarinet BBoard
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Author: Speculator Sam
Date: 2018-03-25 05:25
I'm new to the board. Was hoping for some insight as to how to go about practice routines and ultimately the pursuit of clarinet happiness. Some information below.
Currently rocking a Selmer 1430LP Bass Clarinet, standard mouthpiece/lig. and the Vandoren blue box size 2.5, and have completed the Accent on Achievement series, and am moving on to the Rubank Intermediate Method. Typically practice for two-three hours; 2 x 50min. w/ 10min. break, then a full hour to conclude. The book series is pretty straight forward, start with long tones, scales, and technique exercises, then work on the excerpts in the book for the majority of the practice session. I finish the last 30min. with "fun", which for me is working on a song or two, and just improving/jamming.
I'm 21yr. old, so go ahead and laugh. My clarinet goals are that someday, I'd like to play some pretty advanced classical and jazz pieces. Think Yasuto Tanaka's interpretation of Czardas and Chopin's Nocturne Op. 9 No 2; maybe be able to jam like Eddie Daniels too. Maybe play well enough that I could audition for a local orchestra, or maybe just go Christmas caroling and a few small gigs here and there.
Seems I've already posted an epic now, so I'll close by saying any tips for what direction I should go in terms of clarinet/bass clarinet-ing would be great, since I don't have a proper teacher. Thanks for reeding (reed pun).
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Author: Ken Lagace
Date: 2018-03-25 05:42
You must find a good teacher, one with really good students is the best kind. Look for the best ensembles in your area, orchestras, bands, or any kind of group that interests you. Is there a music university around? Find the best you can. It looks like you will be a great student with a great teacher. You can advance yourself, but a good teacher shows you the shortcuts to advance much faster and farther - and also not waste time un-learning some bad faults you will be acquiring alone.
I wish you lived nearby - you are the kind of student I would help for free.
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Author: Speculator Sam
Date: 2018-03-25 05:44
Thank you Ken, that's kind of you to say. I live in Florida, that's all I can say without really disclosing my anonymity over the internet.
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Author: Ken Lagace
Date: 2018-03-25 05:53
One of the best clariet players around today is Ricardo Morales - who went to school in Florida. Find our all you can about him. He also studied with my teacher in New York City, Kalmen Opperman.
https://www.youtube.com/watch?v=torxVFIIOLo
Good Luck!
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Author: rmk54
Date: 2018-03-25 16:45
No to be argumentative, but I thought he attended Cincinnati Conservatory and Indiana University.
Met him years ago when we were both finalists for principal in San Diego (neither of us won the job!)
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Author: Ken Lagace
Date: 2018-03-25 16:59
Thanks for the correction. He doesn't have a bio out yet so much information is hear-say. He definitely lived and played in Florida though.
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Author: Speculator Sam
Date: 2018-04-18 18:45
So Clarinet community I have a question. In terms of technically challenging repertoire I've run dry. Currently, I've practiced a Gavotte by Rameau for three weeks and have stopped improving. Keep squeking/fudging at the same places in particular passages; for the safety of the bass clarinet being thrown against the wall and my sanity I'm dropping it for a bit. I'll try to answer myself and see if it makes sense. What do I do in the meantime?
If my knowledge of central nervous systems serve me right, leaving a song for a considerable period of time (more than two day, more around 4-14 days) will allow the fingers to forget the song enough that muscular tendencies when playing will sorta be foggy.
Techinque for the entire song'd be foggy, but at least the body won't have a distinct idea of what it's suppose to do yet. Like letting a clay sculpture lose it's shape so you can re-mold it again with fresh ideas in mind. Habits the body remembers for that piece will be sorta forgotten and we use use this to teach new habits and hopefully perform the song better.
That being said, I don't exactly have the spare change to purchase a repertoire book or go to a printing store and print a single piece. So I'm guessing for now I could learn a song by ear, even if it's radio song as long as I can get into it "feel it". I could revisit some easier pieces and improve those further perhaps. Usually I finish a practice with about 20-30min. of improving over a backing track, a jazz, rock, or a radio tune doesn't matter what genre.
I suppose while I wait for some new challenging classical repertoire and for my mind to rid itself of that disgusting Gavotte before trying it again, I could learn a fun song by ear, work on "perfecting" an easier piece, and continue to work on my improv. I believe this to be the answer to the question.
As long as this seems right, then I go this route for the repertoire section of my practice sessions. Thanks for reeding (reed pun).
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Author: jordan.1210
Date: 2018-04-18 19:47
Funny enough, I'm in a similar boat as you. Regretfully, I don't have nearly your drive to practice. I'm a 20 year old mechanical engineering student so my time for music classes/ensemble playing is sort of limited. Ironically my interest in music and playing has drastically increased lately. I still try to keep up my playing with a clarinet quintet (on bass), a sax quintet (on tenor/bari), an online orchestra (all I have time to record), and my college's pepband (mostly clarinet, but what I feel like). I realize these aren't the most demanding groups, but they give me opportunities to play. I also end up playing on my own every few days too, usually stuff for fun though.
Anyone have any tips for someone that wants to keep improving but not with a lot of time on their hands?
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Author: Ken Lagace
Date: 2018-04-18 21:19
Sounds like you are working on the top floor of a building without having a foundation. With a good proper foundation you can play anything. Without, you will always struggle.
Save your pennies and for finger technic, get Kal Opperman's "Daily Studies Book 1" and work on 1 through 7, one at a time with a metronome. (A light pencil mark on #1 in my old book has dotted qtr = 108 - and that was over 50 years ago.) I have sat next to players on hard parts and the players have asked, "How'd did you play that?", and I answered 'The Daily Studies!".
https://www.amazon.com/Modern-Daily-Studies-Clarinet-Book/dp/B000JWF2PM
Or maybe screen copy the pages?
https://www.scribd.com/document/274238138/Modern-Daily-Studies-Book-1-Clarinet-Kalmen-Opperman
For other playing elements, sound, embouchure, smoothness, range etc....
...will give suggestions when you are ready.
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Author: Speculator Sam
Date: 2018-04-18 22:34
Thanks Jordan & Ken. @Ken I'll definitely try to get that book. Although the post just mentioned that I don't have the spare money to spend on clarinet books. Otherwise, I wouldn't have asked. Right now, and for the past four months, my practice goes like this.
2.5-3 hours total
50mins. Long Tones, then going over the Accent on Achievement Book 3 for scales and rhythms. I've completed the book, but still have some hiccups here and there. Before I move on to the Albert and/or Baermann Scale books, it'd make sense to really get that beginner technique taken care of. I have the whole rest of my life to get better right? Not rushing scales and technique practice.
10min. break
50min. Rubank Intermediate Method. Same level patience. Will definitely go through the book twice.
10min. break
30-60min. A harder repertoire piece for 20-45min. If I have the energy afterwards, then I'll work on an excerpt, lick, riff, or jam to a song by ear. Trying to save up for the Concert & Contest Bass Clarinet book, since that's more an intermediate level repertoire book. For now I was trying to learn a Gavotte because my Mother, an advanced clarinetist, told me "Every good player learns a Gavotte within their first year!"
@jordan I wish I could afford college, good on you for having that life opportunity as well as band/ensemble opportunities.
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Author: Ken Lagace
Date: 2018-04-18 23:04
Do you know how to screen copy? In the 2nd link, the music is right in front of you. Read from the screen, or memorize it, or screen copy and print it. If you really want something, you will make it happen. That is how the best got there. Opperman thumbed rides to NYC at age 12 in a snow storm to get to lessons with Simeon Bellison. Google the name if you haven't heard of him.
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Author: jordan.1210
Date: 2018-04-18 23:08
Thanks, I'll see what I can do with this, let's hope I have the persistence. I did some things similar to this back in high school, but not stuff to this level, mostly modal, scales, some articulation and interval stuff. Now, I've regretfully let that fall to the wayside and mostly focus on tone, style (smoothness), and range (emphasis here for some reason). I guess it's time to strengthen that foundation.
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Author: Speculator Sam
Date: 2018-04-18 23:28
I know how to screen copy Ken. and thank you I do appreciate the sincere help and will now digitally obtain the book. Jordan, you have a unique situation where you need to learn how to get the most out of lesser amounts of time. Dan Forshaw and Bob Reynolds on YouTube have some videos on that. Otherwise, it's a topic for a different thread perhaps.
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Author: Ken Lagace
Date: 2018-04-19 00:58
*jordan.1210
Opperman has some wonderful books on 'smoothness', the "Velocity Studies". At first glance they look easy but if you try them with EVERY interval smoothly connected, you will find how difficult and effective they are. When I first saw them I thought they were impossible tp play that way - then the Intermediate Velocity book came along with a CD by former Opperman student, Adam Elbert, playing all 33 studies flawlessly! It was both inspiring and intimidating to hear that CD. Beware of getting a used copy that is missing the CD.
Here on the second page is #2;
https://www.sheetmusicplus.com/title/intermediate-velocity-studies-sheet-music/3558646
The beginning is easy. Concentrate on how smooth it is and keep the smoothness for the whole page. Trouble starts at measure 39, over the break. Then 41! These should all be as smooth and connected as measure one!
#2 is one of the easier studies. Wait until you get to #6, 14, 19 etc. When I teach for smoothness, I require all notes slurred. But staccato groupings are good after slurring is mastered.
Then there is the Advanced Velocity Studies, the Virtuoso Velocity Studies, Masters Studies and more. These should keep you busy for a while. :=)
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