 The Clarinet BBoard
|
Author: Bob Bernardo
Date: 2019-11-21 21:34
Yes Very nice! A difficult piece to play as we all know. Your technique is just fine. You nailed the hard passages! Well done! Your stage presents has a fearless and positive sense to it, also calm. I liked how you don't jump around and keep the clarinet from dancing all over the place as this is often distracting.
I can't tell what your gear is. The sound during the last few measures is better at forte than when playing softly. Maybe a horn and mouthpiece issue? Yes an issue. A few notes weren't in tune at the opening, well actually throughout. I'm sure you are aware of this. Maybe try alternate fingerings for the throat tones. This is really the only thing I noticed that I question. Don't get me wrong here, your sound works but I liked the sound of the last couple of measures better. We know players put much more air through the horn at forte, but something isn't right and I can't advise you what to do. Yes I'm being very picky since you asked.
I liked it and will take a listen a few more times! Sometimes when I hear this piece I don't get past the opening passage as it lacks emotion from the players and I just switch it off. But I enjoyed how you played the piece. I look forward to hearing more! Please comment about what I've just said. Your opinion matters a lot.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2019-11-21 21:47
I'd say overall this is a good effort. I wonder though since the set up is artificial (not a recital) if this was one of several different "takes?" There are many little comments that could be made about various technical moments but it was a "performance" take and I'm sure you're aware of them. I'd only say that the long notes (except for the end) tended high in pitch compared to the piano and may have been caused by nerves taking over, but still should be an easy fix for the future.
So to that point of artificial. The space could not have been worse for sound with all the reflective surfaces; flat close walls, marble floor, and windows everywhere. If you have control of where you record make sure your future recording are NOT in this space.
I was confused by the perspective of the mics. It seemed "right" input heavy and perhaps just the mics off the GoPro or whatever video device were used. If at all possible you should use at very least a Zoom recorder for your audio (and preferably mic/preamp to ProTools or similar) then sync up in post. Keep in mind it is the SOUND that should be preeminent in these presentations.
..............Paul Aviles
|
|
Reply To Message
|
|
Author: Marieteclarinete
Date: 2019-11-21 21:56
Dear Bob.,
Many thanks for writting! You are completly right in all you said. Thanks for enjoy my interpretation!
In that moment i was playing with plastic reeds, and they were not given me the better sound. I think is what you notice in the cuality of sound. I was not so comfy about the plastic reeds.
Now I use cane reeds again and i am very happy, my sound and color improved so much. I just stayed playing plastic 1 year, i had to try it.
And also you are right, some notes of throat tones are so high! In that moment i did not realize of the concentration on playing but, as you say, it is something easy to solve.
Many thanks again for listening! I enjoyed so much the rhapsodie while playing.
Yours faithfully,
Mario
|
|
Reply To Message
|
|
Author: Marieteclarinete
Date: 2019-11-21 22:01
Dear Paul,
Many thanks for listening and writting. Yes, it was a real recital with public, so this was the only take.
Like I wrote to Bob "you are right, some notes of throat tones are so high! In that moment i did not realize of the concentration on playing but, as you say, it is something easy to solve".
Thanks for recomend me about the space because i did not know that things like marble floor. Many thanks. The space was the Auditorium of my conservatory :/
And you are true, the micro... The video was recorded with the camera of the conservatory also and they used the integrated micro, and it is a bad micro. I have a Zoom record in my house, so i will use it next time.
Thanks for all again, and thanks for enjoying
Yours faithfully,
Mario
|
|
Reply To Message
|
|
Author: bmcgar ★2017
Date: 2019-11-22 08:21
Why was it necessary to play the final section so fast?
What was gained?
B.
|
|
Reply To Message
|
|
Author: Marieteclarinete
Date: 2019-11-22 15:08
Dear Mr. B,
Thanks for listening and writing!
It is true, the final section is to hasty. I did not realized at the moment so I think it is because I was nervous on the recital. I usually don't play it so fast. I have to get control on that section.
Thanks for your opinion!
Yours faithfully,
Mario
|
|
Reply To Message
|
|
Author: Bob Bernardo
Date: 2019-11-22 22:43
Well you got some good advice from fellow players. After reading about the plastic reeds the sound quality or lack of it, this made more sense. It surely could have been your reed and mouthpiece setup. Lets face it, not every mouthpiece and plastic reed will work for everyone. I always seem to gravitate towards cane reeds and at the same time I'm glad there is Legere. This saves countless hours fixing reeds and taking away from practice time. A word of advice if you don't mind. Play more long tones Everyday for a few minutes to warm up. What I heard when you were playing is a need for a warmer sound. I was hearing this strange hollow sound. Is it the plastic reed? I don't think so. I feel it's related to airflow and more time playing long tones The players with the best sounds often warm up everyday doing this exercise and not jumping right to the music. It will relax you a bit and your embouchure will surely change naturally.
Just so that we understand each other, long tones should be played from pp < FF > pp, a total length of 30 seconds or so. Longer is OK. Really listen to your sound and the goal is for your sound to be the same in all registers as well as when you crescendo and decrescendo. Sounds easy, but you and fellow readers who what to do this will be shocked at how hard it really is. This is why I still do this since I was 14 years old. 35 plus years later it's still hard. You can also play with 12ths. After maybe a few month you might like how you sound. Post a recording in a few months. Oh, and I'm a fan of doing this with a double lip embouchure, but I'm not wanting you to play with a double lip. I just want you to hear the differences and the goal is to not hear any difference.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
|
|
Reply To Message
|
|
Author: Marieteclarinete
Date: 2019-11-23 21:07
Dear Bob,
Thanks for your recommendations. Now I have a new mouthpiece and I use cane Reed. Also I am studying so much time so I have resolved many of the little problems present in the record, but I wanted to upload the video anyway because I like how I played. We can always play better and it is what I love from playing clarinet.
Thanks so much for your comments again
Yours faithfully,
Mario
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
