Author: Tom H
Date: 2021-08-07 21:42
brycon, Sorry, I just can figure out how to quote something yet on this forum....
Re the cresc. & flattness---So we seem to agree that accomplished players don't go flat when they get louder, correct? You have pointed out the mechanics of why, which I admit I've never given thought to.
Re Technique & musicality 2 sides of a coin---
I don't think we're that far apart here either. Yes, you grab onto certain notes (or patterns) to assist in getting the technical passages down. I also can see what you mean about expression getting new students "out of their own way" with fingerings, even perhaps tonguing (though I think tonguing,no matter what method you use, pretty much is what it is-- you tongue the note or you don't).
I'm not sure thinking about what you want to accomplish with the entire piece (or section) regarding phrasing, dynamics and overall form of the piece is a good idea when you are first woodshedding the notes. Maybe you should do that in pieces/sections as you learn the piece.
Re Approaching Weber vs. Nielsen--
Sure, there are many ways to woodshed a piece. Bar by bar if you like. I did that with many of the etudes in my book when first starting to practice them. I am at the point now where I have to do my best to play them as musically as possible, so as to avoid boredom.
We agree on something else here-- You can never really achieve technical perfection (though you wouldn't know it listening to the hundreds of thousands of fantastic clarinetists nowadays, some of them older than 15 years old....
When do you add the expression vs. just getting the technique down first? I don't know. I think it varies with each player and maybe with each piece to be attempted.
As I first said, my philosophy is an odd one in that I tend to think about technique first. I stand by that playing something very musically but with technical mistakes, unwanted variations in tempo, etc. just doesn't cut it for me. When I was an undergrad, one prof. (knowing I was a clarinet major) asked me which I preferred after he played 2 versions of I think a Brahms Sonata. I chose the one with perfect rhythm and what I considered the ideal tone, but was not very expressive. I'm sure I threw a bone in his plans, as he figured I'd choose the guy with lots of varied dynamics and musicality.
In fact, I WOULD rather listen to that second guy if I had to pick one for my car stereo. But he should have perfected his tone (which I consider a basic part of technique) first.
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Boreal Ballad for unaccompanied clarinet-Sheet Music Plus item A0.1001314.
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Post Edited (2021-08-07 21:50)
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