Author: brycon
Date: 2021-05-12 19:03
Quote:
I know this is going to sound like a little bit of a cop out, but it started raining after I had already tuned and it messed a bit with tuning and my reed.
Sure: everyone, even the most accomplished professional, deals with these sorts of things.
But the technical issue isn't that you play sharp, it's that you don't seem to hear it or acknowledge it in the performance. When your first G, for example, is 15 to 20 cents sharp to the piano's, why is the next G entrance equally sharp?
So while a good professional, because of reed changes, nerves, or whatever, might also be sharp on the first G, he or she would also be able to recognize it and pull out the barrel, add some fingers on the right hand, alter the embouchure, or any number of things to correct the second G.
For better or worse, audition panels often focus on more objective playing parameters: rhythm, intonation, dynamic contrast, and basic sound. And as people above have posted, you have much work to do in all these areas. The most important thing, however, is that you yourself "hear" the work you have to do. (In that Broadwell stages-of-competence pyramid, you're at "unconscious incompetence" and need to will yourself into "conscious incompetence.") It's one of the reasons why advice in this format is largely useless: I can tell you you're sharp on Gs; you can then flatten Gs; but if you aren't able to hear in the moment of performance that you're sharp on Gs, it's of no use.
Same with Paul's advice. Practicing slowly might be great (for what it's worth, I think it's useful in some circumstances and useless in many others). But if you're just practicing slowly because Larry Combs says so, you might as well not even bother practicing. Again, the first step is to be able to hear what you want to improve; then you can form goals and seek out practice strategies to fix these things.
Post Edited (2021-05-12 19:05)
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The Clarinet BBoard
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