 The Clarinet BBoard
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Author: Carmen Izzo
Date: 2001-09-04 05:54
Hey Mark and sneezers, check out this practice schedule and see what you think. I find its really handy to be organized, and consistent so my music is prepared all the time. I gotta start now so college isnt so bad then. Send ideas, !!!!!!!!!!!!
SECTION ONE-WARM UP 15-20 minutes (necessary to do every day, even if this is all you do)
Long tone major scales, each count has a crescendo then decrescendo (ppp-fff-ppp)
Warm up Chords: Larry Combs told us at the DePaul workshop about these Start on Chalemeau (pardon my spelling) C, go up a twelfth, descend in triads. Then do the same thing but the starting pitch goes down in half steps each time, or up half steps. Example: chal. C four beats. clarion G four beats. clarion E two beats. throat G two beats, chal. E two beats. Chal C (beginning Pitch) eight beats. Rest four four beats then go up or down half step.
Tongue Excercise- Play and open G for four counts, but cut it off with the tip of your tongue really quick-like you do with staccato notes. Keep your tongue on the reed tip and release after four beats of rest. Now after doing that several times change to dotted half notes, half notes, quarters, then eigths.
SECTION TWO:SCALES-30 minutes
JB Albert 24 Varied Scales and Exercises:These are something Julie DeRoche at DePaul University is known for. Great for Building up speed in the fingers!
-Every week i work on one page (key signature) and build up from a slow tempo to two goal tempos-for triplets and sixteenths. i choose a tempo that is outside my "comfort zone" for tempos on scales. Build up the speed by playing the page at sixty, then each time you complete a page raise your metronome up "two clicks". From 60 to 66, 72, 80, 88, 96, 104, 112, 120, etc. After you complete the book , raise your goal tempos.
SECTION THREE:ETUDES-30-45 minutes
C. Rose 32 or 40 studies-With all the teachers ive had (only three), we do one rose etude a week, because of their criticality to our repitoire. Start with the Thirty two etude book, then do forty.
As you know there are lots more etudes out there. some good books i use to look at now and then for variation are Uhl, jeanjean, cavallini caprices, and many more!
TAKE A BIG BREAK-of course breaks are allowed during the rest of the time
SECTION FOUR:SOLOS-30 minutes
Major solo- I do the solo i am working on for auditions or competitions for the majority of this time, currently the Mozart in A.
Extra Stuff-Then for a few minutes i work on the usual stuff thats common so the re-learning process isnt so bad. I look at the Webers, Debussy, Copland, Poulenc, all the good stuff.
SECTION FIVE:ENSEMBLE- 30 minutes
Current ensembles- I like to always have my WInd Symphony music and Youth Orchestra music ready, I mean, we arent perfect!(well maybe mark is but anyhow. . .).
Repitoire-My Excerpt books are falling apart from all the times i flip through each one to find which excerpts are in what book. The standard repitoire should always be ready for auditions and what not.
BREAK IF NECESSARY
SECTION SIX:AUDITION MUSIC-45-60 minutes
-Here i work on the Etudes for all-state or excerpts for orchestra and what not. Usually the etudes take up more time due to their length. Orchestral Excerpts sometime take more because i study the recording and scores to get a hold of what im trying to speak in my music. Solos usually dont need work here because I cover them earlier in the practice session.
Thats It! Im only a kid, 16, so this time shouldnt be so optimal for pros and grads and undergrads. Im thinkin, about four hours for grads and undergrads. Send me your opinions.!!!
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Author: Ted Donaldson
Date: 2001-09-04 11:35
well, i might try that, but i might start having algebra homework and what not.
Oh and sneezers, wish me luck, i am taking an algebra placement test today . A high school credit in 7th grade... cool. See you later sneezers.
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Author: susannah
Date: 2001-09-04 11:40
sounds great in theory, but don't forget in practise its sometimes hard (impossible) to keep to a schedule. Don't be too scared or stubborn to change. By the way, I'd suggest having maybe 1 day where you only do about an hour of practise; just to make sure you don't overload. Anyway, good luck.
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Author: William
Date: 2001-09-04 15:03
Carmen--Mark is spelled with a captiol M, and lighten up on the references...........
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Author: Kim L
Date: 2001-09-04 17:05
Carmen,
I don't suggest that you pile everything up into one practice schedule like that. This year, my college band/wind ensemble and clarinet choir is expected to get extremely difficult music. I am also doing an end of the year junior recital. I couldn't possibly pile everything into one schedule as you do. What I suggest you do is rotate your music on different days for variety. For example, practice your wind ensemble music one day and your All-State stuff on another. Don't try to make it such a big deal! I'm a music major and it's not that big a deal to me. Take your time, pace yourself and have fun!
Here's what I do:
I practice my long tones first, probably ten minutes. Then, I practice a page from the JB Albert scales(5 minutes). Next, I work on a small section from a Rose etude for 10-15 minutes. If I'm not working on the etude, I work on a solo for 10-15 minutes. I work on my most difficult ensemble music next for 10-15 minutes. The most I practice is usually an hour to an hour and 15 minutes because my embouchure gets tired. I also lose patience. It's hard looking at music for long periods of time.
Good luck,
Kim L.
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Author: Dee
Date: 2001-09-04 17:46
I don't mean to sound negative but adding up your minimum times results in 3 hours. Do you even have 3 hours a day to devote to the clarinet? What about the rest of your school work? What about physical fitness activities? Meals? Family activities? The chores that you should have as a member of a family unit? And don't even consider short changing your sleep.
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Author: Sylvain
Date: 2001-09-04 19:47
Carmen,
I am very impressed by your schedule. It sounds like you are pretty serious about becoming a good player.
My only remark, is that you might to take more breaks or better, split your practice session. Instead of practicing 3 hours. practice 3x 1 hour. You will have better concentration. Of coures that will require a bit of warmm up each time. But you can do let's say warm up and scales, then later warm up , etude+solo, ... you get the picture.
If you manage to keep that rythm you will become a very good player. I hope you have time to do everything else that a 16 year old does, as the other sneezites pointed out. It si sometimes better to do 1 good hour of practice than 3 bad ones.
You sound like you know what you're doing so go ahead, try not to overburn..
Best of luck in your endeavor,
-Sylvain
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Author: Suzanne
Date: 2001-09-04 20:18
You might want to read "The Art of Practicing" by Madeline Bruser. She talks about "quality over quantity"--for example, what is your GOAL as you practice Larry Combs' chords? To achieve the purpose behind an exercise, rather than to be able to say, "I played it," is more important.
The book also talks about practicing what you "feel" like practicing. In other words, if I feel like chicken for dinner, I wouldn't eat beef would I? So if I feel like Mozart one day, and Brahms is on my "schedule," forget the schedule. I will be more productive if I listen to what I feel like practicing.
This is not to say there is no place for discipline. There is a balance between discipline (which helps us grow technically, for example) and playing for pure pleasure. I don't want to spend all my time on exercises; likewise, I do not want to spend all my time playing what I already sound good on. The "art" is the balance between the two--listening to your desires and disciplining yourself to work on things that are difficult.
Schedules are helpful, but make sure you are listening to your desires, as well--practicing should be an enjoyable thing, right?
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Author: Meri
Date: 2001-09-04 21:51
All I say is, use what works for you!
But, with so much material to work on, are you really mastering the material to the point where you know it without thinking about it? Sounds like you, or your teacher, is overloading you with assignments. You may need to priortize, and/or discuss this with your teacher, and determine the most important things you need to work on from the less important ones. Try creating a list of the things you need to work on, using the A-B-C priority system--a difficult passage in a piece you are performing in a week would get an A priority, while an etude for an exam that is three months away might get C priority.
Finding and using material that fits multiple needs can cut down on the number of things you need to practice. Not to mention focussing on particular aspects of technique while doing your warm-up.
You may also need to learn various practice strategies to help you learn the music in less time, better and faster.
Try practicing only one thing for 3 days-a week for 45 minutes-1 hour (say an 8-bar section of the music you are having problems with the fingering), but with the goal that you are going to master it to the point where you can do it without thinking about it.
I'd also be concerned, with so much practicing, that you are overusing certain muscles, which can lead to injury.
Hope that gives some ideas that work!
Meri
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Author: Bob Arney
Date: 2001-09-05 00:16
Can you spell "KOPECTATE"? It's the first thing they recommend for ulcers obtained from attempting to stick to a schedule like that.
Bob A
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Author: Ken
Date: 2001-09-05 00:22
I didn't see the most critical skill needed to become a superb player...sight reading.
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Author: David Pegel
Date: 2001-09-05 01:29
Here's my idea for a schedule on school weekdays: Two practice sessions a day, each around one half-hour long and almost back-to-back.
Each time, warm up with long tones, tounging exercises, and whatnot.
MONDAY - SCALES / ARPEGGIOS
Practice 1, major/minor scales, chromatic scale
Practice 2, Various arpeggios, bulding up speed
TUESDAY - ETUDES / AUDITIONS
Practice 1, any audition peices
Practice 2, etudes out of a lesson book
WEDNESDAY - SIGHTREADING I
Practice 1, focus on quick recognition of rhythm and notes
Practice 2, play the same peices, but focus on articulation, dynamics, and tempos
THURSDAY - SIGHTREADING II / AUDITION
Practice 1, quickly sightread new peices focusing on EVERYTHING
Practice 2, any audition peices
FRIDAY - SOLOS / ENSEMBLES
Practice 1, Solos
Practice 2, Ensembles.
Also, I've heard that in order to make it into a prestigous musical academy like Juliard, you have to practice more than the average devotee. Is that true, because if it is, I need to increase my practice time by a few hours or so.
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Author: Carmen Izzo
Date: 2001-09-05 01:36
First of all, this isnt always the length of time that i practice on a consistent basis, and i usually rotate such a schedule. Second of all, i didnt mention how i learn pieces at all- i am just setting up the schedule by which i abide by. My progress as a musician isnt made by just looking at the music and playing notes until i can tell theyre correct, i set up the piece slowly then i build up tempo (all the time i check for things like embouchure, air consistency, tongue posistion-correct articulation), so then i practice the correct notes and eventually i get ahold of this in my muscle memory. And Musicality i always look for, like style and what not. But I cannot always be certain of myself. A good portion of Learning music is done in my teachers studio-two very nice women whom i trust very well as musicains, and the only ones i can be sure are correct about my playing. Plus, this schedule is meant to be broken up, so muscle endurance in the embouchure is always fresh and can be consistent as you play.
^^
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Author: Mark Charette
Date: 2001-09-05 01:55
David Pegel wrote:
> Also, I've heard that in order to make it into a prestigous
> musical academy like Juliard, you have to practice more than
> the average devotee. Is that true, because if it is, I need to
> increase my practice time by a few hours or so.
It's not how long you practice, but how <b>well</b> you practice, which influences how <b>well</b> you play. Efficient practice for a reasonable period of time will go far!
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Author: HAT
Date: 2001-09-05 04:02
I will add a few comments. Consider rethinking the long tones. They are tiring and accomplish relatively little compared to slow scale practice. 15-20 minutes a day seems like way to much even for the most masochistic individual. I would certainly disagree that that would be the one thing that one should do on limited time.
As I often say, if you have less than an hour a day to practice, spend at least 40 minutes of it (if not all of it) on scales and apreggios, both slurred and articulated. There really is no substitute. Incidentally, comprehensive scale practice will improve your sightreading significantly.
I would also consider for younger clarinetists spending at least 10-15 minutes a day on staccato excercises. It is easy to forget how crucial articulation is in clarinet technique. And proper articulation and staccato needs to be learned as young as possible, it is much harder to learn later. I remember so well going to lessons early in any given school year and hearing Marcellus torturing another new graduate student through a simple c major scale articulated, over and over. They just hadn't learned how to do it properly. Read the Bonade book and memorize the section on how to tongue.
As for how much you should practice: if you plan to try to make it a career, you need to put in major hours. At least up to the point of physical discomfort. 3-5 hours a day is not unreasonable for someone over 16. The fact is: if you don't do it, someone else will, and while you might not run into that someone for a while, you most certainly will when it comes time to look for a job, and by then it might be too late.
However, the first 90 minutes are the crucial ones. What you accomplish there will take another 3 hours to match. It's the law of diminishing returns. That's why I won't waste valuable time on long tones. Where in the real world do they come in to play?
David Hattner, NYC
www.northbranchrecords.com
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Author: Carmen Izzo
Date: 2001-09-05 06:16
Thanks for all the support guys! This is really important to me, and it never helps to hear this often. Yes I have heard this before, but reassurance is good! Oh, by the way. . .. I study with Julie DeRoche(CSO) and one of her former graduate students from Depaul University. So, I have a good grasp of doing things. . .."proper" (articulation, embouchure, tongue position)
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Author: Hiroshi
Date: 2001-09-05 06:50
Flute method 'Altes' says it is necessary to practice 3 hours a day to become a professional. So your dilligent scheduling may be good for you since I guess you are going to become a pro in future. Even Maurice Andre practice at least 8 hours a day!
My humble opinions: these are ,to tell you frankly, what I feel now I should have known when I started wind instruments.
Sorry to say, clarinet methods published now are far poorer in its contents than those for flute especially by Marcel Moyse and Trevor Wye. In other words, they are not categorized properly depending on practice purposes and there is almost no background description of each practice's purpose. This is a frank feeling of me, who started playing flute first and clarinet later. You can easily understand what I mean if you ask your flutist friend to let you read Trevor Wye's method, Moyse's Sonorite, or Moyse's Exercises Journalier.In fact almost all clarinet methods are at least 50 to 100 years or more old. This is a very funny situation.
I wonder why any professional clarinetist does not publish a more modern method. Maybe Stabin's method or some of the Opperman's books are newer and more methodical. But I never had Stabin's(late Tronto university's professor-emeritus?).
As the first thought:just practicing mechanically every day without really seeking for perfection makes us have a false understanding that we are making progress. We human beings often cheat ourselves. If we cannot listen to ourselves objectively, we need others as critics.
At the end of the warm up session, play a melodic tune to make ourselves think we are practicing music, not a mechanical hand pracitce. Even a scale should be practiced beautifully. This is an idea I heard on a Marcel Moyse Masterclass on TV.
Your practice session lacks in tone development session. Tone development means change of tone colors, levelizing each note, tone bending, or other. 'Sonorite' by Marcel Moyse for Flute is a very good reference. Its method is applied by many wind players especially after they gathered at Marlboro to play under Moyse conducting. Beautifulness of tone is the most important thing and this is obtained methodically to a great degree. Stabin's method may include this as I remember reading a post somewhere on this BBS.
Rose 40 is not etude but exercise. Its purpose is to obtain technique. On the other hand Rose 32 is etude, a collection of beautiful solos. Practice Rose 40 as part of technique study just after scale exercise would be proper. (Etudes are categorized as three domains, French school, German school, and Italian School.) Many teachers seem to lament that very many students play etudes mechanically not musically.
Sight reading practice should be added.
Transposition practice will be necessary until you can easily do it.
Kalmen Opperman's 'Modern Clarinet Technique' is very methodical and scientific to practice finger agility. May be a good side practice material.
Learn breathing from voice teacher or singer. Many professional windplayers now do so. This can be done without clarinet.
If you play a modern music, you will need circulation breathing too.This may be a must for a pro nowadays. It is not so a difficult thing to learn, I 'heard'.
Learn psycology for practice such as:
1)If you make a mistake, re-play the passage correctly twice. One is to cancel
a wrong memory and one is to make the correct memory firm on your brain.
2)Change everyday's sturting note every day. To practice the same pattern is not
wise and productive way.
3)Many players practice for examle etudes from the first. This very often means the far from the bigining, the less skillness. Split the etude to several parts and practice them spending even time.
Listen to music other than for clarinet to get musical profoundeness, especially:
1)vocalists such as Maria Calas or Mario Del Monaco,
2)vilonists such as Jasha Heifetz,
and 3)Aruturo Rubinstein of piano.
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Author: Josh
Date: 2001-09-05 17:40
Perhaps someone could get a broom to sweep up all the names she's dropped...
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Author: A Mom
Date: 2001-09-05 18:04
Carmen wrote....."Oh, by the way. . .. I study with Julie DeRoche(CSO)....."
Let's all offer our condolences to Ms. DeRoche.
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Author: Josh
Date: 2001-09-05 19:52
LOL...wonder if Hallmark makes a card for the occasion...I'll sign it if you do!
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Author: Mark Charette
Date: 2001-09-06 02:50
Julie's a grown up girl - she can handle it ;^)
I talk to her often - got to ask her about Carmen ;^) She also reads this BBoard on occasion..
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Author: Ginny
Date: 2001-09-06 03:25
This thread sure got ugly, picking on some teenager. SHAME on you.
I think I'll look elsewhere for clarinet advice, for a while, I don't want to associate with people who'd kick a kid like this.
Ginny
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Author: Carmen Izzo
Date: 2001-09-06 03:54
Yeah, its true people do put up with my crazy antics ;^)
Hey Ginny, I dont think you should judge this highly helpful site based a few sarcastic comments.
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Author: Steve
Date: 2001-09-06 12:43
and may I say with only a slight reason behind it. Yeah, sure the kid is a little over enthusiastic, but a least he is practicing!
As for long notes, people where I study do at least an hour of them everyday. Even if there is only one hour of practice a day you can be sure that is going to be long notes for 4min and then scales. to say long notes are overrated is obviously said by someone who doesn't have to worry about sound production because either a)they have a great tone, or b)they haven't realised they sound like crap! Anyway, each to their own as I'm sure it works for them.
Three hours a day is also not too much for a 16 year old. It is easy to get up early, do an hour or so, and then two hours after school if that is what you want to do. Of course when at Uni it is easier to do your 5 or 6 hours a day, but that is another category.
As for Carmen, well he still has an awful lot to learn by the sounds of things about constructive practice and how not to be so regimented that it could ruin him. We should however give this player some credit in that we are all screaming 'quality not quantity", but as I heard once, 3 hours of quality vs. 1 hour of quality, you decide!
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Author: Azzacca
Date: 2001-09-06 16:15
Carmen, I envy your dedicaton. Even when I was in highschool, and enjoying the music, I don't think I ever did more than 2 hours of practice outside of school/week.
And now, I wish I had even the 30-60 min/day I would like to practice. Working 40 hrs/week and going to night school is draining me, and I feel guilty for not practicing even a little most days. Thank goodness I just registered for my final quarter of school (to be done at the end of December). I just keep telling myself to play when I can until then, once I'm done...
Just keep in mind, if it stops being fun, you won't want to do it, then you'll feel guilty, which will sap even more enjoyment. If you find that you're forcing yourself to do the practice, you might want to cut back a little, just to retain your enjoyment.
"When it stops being fun, don't do it anymore" - I heard that once on an old tv show.
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Author: HAT
Date: 2001-09-06 18:20
Re: Long tones.
Long tones are not going to do much for your tone quality. They might help to a very small degree, but, in my opinion, playing scales will help much more.
The true sound of the clarinet is not in the sustained sonority of one note, but in the connections between notes. Where would I get such an idea? From Robert Marcellus, my teacher, and Stanley Hasty, who I have observed in masterclasses.
So people who study where you study do an hour of they every day? Where do you study, and how many recent graduates have won orchestra auditions?
If you want to know whether I sound like crap you can buy my cd and listen to it. If you honestly think it sounds like crap and have the stones to say it to my face, I'll buy it back from you. How's that?
You said, "to each his own." Which is odd since you first said that anyone who doesn't do as you do must either sound like crap or not realize he sounds like crap. Interesting.
David Hattner, NYC
www.northbranchrecords.com
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Author: Jerry McD.
Date: 2001-09-06 22:54
Hat...I agree that long tones are very tiring and should not take up much of our valuable (and in many cases limited) practice time, but I do believe they serve a purpose and have value. First they help develop strength and endurance, but more importantly they allow you to focus in on your sound without being encumbered by technique or musicality issues (i.e. slow scales or a lyrical etude). I was fortunate enough to study for a short time with James Campbell at Indiana University and we spent a lot of time playing just one note at a time. I believe the purpose of this was more to hone my listening skills than to improve my tone. I was able to give 100% attention to the sound, and learn how to manipulate the sound with various colors and voicing. Once I was able to create these sounds I was (and hopefully still am) able to repeat these sounds in whatever piece of music I happen to be playing; be they scales, etudes, solos, ensemble pieces etc. I love the way you champion playing scales every day and are willing to give a professionals point of view to us amateurs, thanks....
Jerry McD.
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Author: Carmen Izzo
Date: 2001-09-07 01:40
Yeah-often i face the horrors of wanting to practice, but really i enjoy all of it! The only REAL trouble is that currently in am in the mraching band (for the wrong reasons) and often it tires and hurts my "chops" so I do the smart thing and stop when pain comes. That really ticks me off, and the whole time commitment issue, thats not helping either. Anyways. . .Hey HAT, whats your name? I would like to purchase your CD.
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Author: Andy
Date: 2001-09-07 02:57
David Hattner
My name is Andy and I actually DO study at the University in Australia where Steve comes from. Can I just clarify a few points:
1) Steve is not a clarinet major and only has lessons once every three weeks, and not with the major clarinet teacher. He is actually studying law and is doing a minor in music. He has very little to do with the clarinet department.
2) We do not do "at least an hour of them every day". What rubbish. We all practice slowly, and as you correctly said, practice the linking of the notes and the gradual dynamic increases and decreases that you can achieve. As for just mindlessly blowing a long note until you turn blue, most of use might do a couple to warm up, but other then that....
David I think I will investigate purchasing your CD just to shove is the stupid buggers face!
Cheers,
Andy
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Author: HAT
Date: 2001-09-07 03:01
I sign my name to all of my posts.
David Hattner
you can buy my cd at the following website
www.northbranchrecords.com
I still think long tones represent an unnecessary stealing of time away from scale practice as part of a proper warm up. The difference between a working clarinetist and someone who can't get work almost always comes down to rhythm, intonation and technique. Minute colors in tone are almost impossible to hear under most circumstances one would encounter professionally (we don't play concertos and chamber music every day. certainly never etudes on the job). In any case, clarinet players are more sensitive to this sort of thing and most others will not even notice things other clarinet players find very obvious.
The only clarinet players who mostly play for other clarinetists are professors and students. Thus the importance of what I call 'clarinet player issues' is greatly magnified when one is in school.
I realized far later than I might have that it is much more important to play well and make a lot of music than to worry about what other clarinet players might say about something I was doing. Thoughts like those can put limitations one what you can express musically.
On the other hand, not having great technique, excellent intonation and perfect rhythm will inhibit what you want to do musically more, because no one wants to listen to a player who does not posess all of these things,
If you practice 20 extra minutes of scales every day at age 15-18 you will save an hour or more of technical practice when you are in college.In addition, you will have to practice every piece you play longer because you have less basic technique.
If you listen to recordings of great clarinet players like Marcellus and Wright, that tonal concept will get into your ears and help you produce it far more efficiently than anything else you can do.
Should you ultimately become a professional, you will discover that you have almost no time to practice anyway, and you certainly won't want to squander any extra time on long tones.
David Hattner, NYC
www.northbranchrecords.com
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Author: HAT
Date: 2001-09-07 03:05
Andy, just saw your post. That would be cool if you bought my cd. I don't think we have sent one to Australia yet!
David Hattner, NYC
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Author: Carmen Izzo
Date: 2001-09-07 04:38
My younger more consistent teacher Audry was telling me a whiile backe that long tones will help but eventually they do waste time. So it appears I have an Idea here. The longtones i do are about eight counts each not a bazillion counts
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Author: Ken
Date: 2001-09-07 11:56
What happened with Julie DeRouche? Nothing bad I hope! Last time I spoke with her she was still teaching at DePaul and took over Bob Spring's ICA position.
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Author: GregorySmith
Date: 2001-09-07 13:57
Once again I would like to associate myself with Mr. Hattner"s remarks re: long tones. His perceptive comments as a fellow professional are
i believe right on the mark.
Playing between the notes is where music is made - a point I continually remind my students and in masterclasses (Hi Andy in Australia!). The clarinet is the most capable of sustaining of all wind instruments, it's flexibility and acoustic abilities legendary when it comes to playing great leaps in registers with ease (if played properly). I speak about this in the latest issue of the Australian Clarinet and Saxophone Journal which extensively profiled the concert/masterclass tour I played during Feb. - April of this year. If you are interested it may be ordered at their website I believe.
By the way Andy, did you and your friends and colleagues have a look at it ?
At any rate, Baermann 3rd division scales both slurred and tongued and scales in thirds and sixths all slurred are the place to start - the "fountainhead" for the fundamentals of clarinetistry. The rest is iceing on the cake.
Gregory Smith
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Author: Carmen Izzo
Date: 2001-09-07 15:51
Julie is only doing CSO as a Sub and for extra parts this season, she still teaches at DePaul here in Chicago. Right now she's on tour with the CSO.
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Author: Ken
Date: 2001-09-07 20:56
Ok, I'm clear, I must have misunderstood an earlier thread concerning Mrs. De Rouche. I spoke today with a colleague who attended the DePaul workshop last July. She's pretty close with Julie and brought me up to speed on what's going on, or what WAS going on in the CSO clar section. I was not aware J. Laurie Bloom was fighting throat cancer and took most if not all of last season off, he didn't look as sprite as he normally does when I saw him perform at the 2000 Clarfest and I was concerned for him. She said John Yeh has been filling in on Bass. Julie's been on-call and playing with CSO for at least 10 years and apparently the 2nd clar position is becoming available, Julie's already said she's not going to audition. Can't blame her, if they don't know by now or happy with her playing they're not interested. If that's THE clarinet player Greg Smith from CSO in the previous post maybe he could comment if he's at liberty to, I'm not in those circles so I wouldn't know for sure.
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Author: Gregory Smith
Date: 2001-09-07 22:25
As some of you know from my previous posts here (including one in this thread), I have been on a 9 month sabbatical from my already 17 years as second desk clarinetist with Chicago Symphony Orchestra. I have returned permanently now to the orchestra after much solo concertising and teaching in various parts of the world and of course plan to have a continued long and happy life with the orchestra.
One of the problems with second hand information of any sort is that much more often than not, the information is incorrect. That being the nature of the beast, it makes sense that it is probably best for everyone not to rely on or repeat it - especially in a public forum.
Gregory Smith
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Author: Ken
Date: 2001-09-07 23:29
Greg, we could use all the world-class clarinet players on this site we can get to help and advise us become better and more inspiring players. Please visit and post your genuis whenever you can. <:-)))
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Author: David Pegel
Date: 2001-09-08 02:02
Okay, I going to try not to be rude...
I spend every waking moment of my spare time - besides time like this - either writing music, studying various instruments, practicing directing, and of course homework. It averages about, say, 5 hours a weekday just dedicated to music. About 3 hours writing and revising, about 1/2 hour directing, and the rest practicing whatever instrument I feel like playing.
You wanna talk Super-Mega practice schedule?
I know that I said I need to increase my practice time, and I do, but still, someone very dedicated to music, like pretty much everyone on this forum, needs to dedicate TONS and TONS of time to work. And going to a public school trying to bring up a 3.4 GPA doesn't make it any easier on teenagers.
I guess I just don't have it lucky.
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Author: Andy
Date: 2001-09-08 08:38
Greg,
We only have two copies of the journal between the lot of us so it is being passed around. Two between 11 doesn't go far. Hopefully I will be able to have my turn in the next week or so.
Hope everything is going well, thanks again for the inspiring concert and masterclass,
Andy
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Author: ~jerry
Date: 2001-09-08 13:08
Andy,
How would we go about purchasing a copy of this issue of the journal, here in the states? Or is it not available? I'm sure many of us would like to at least have an exerpt of Greg's write-up.
Thanks.
~ jerry
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Author: Jonathan (Aus)
Date: 2001-09-08 13:20
The Australian Clarinet and Saxophone Magazine's website is http://www.clarinet-saxophone.asn.au/ (hope it worked) and costs AUD $30 for a years subscription inside Australia and AUD $50 (around US $25) for outside australia. I can thoroughly recomend it as a great magazine (I've been a subscriber for a few years now) and the main clarinet teacher at my con is the editor of it. Online at the website you'll be able to read a couple of previous articles published in old editions.
Jonathan
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Author: MGT91123
Date: 2013-10-25 23:46
Carmen,
I'm a senior in high school, but I get where you come from. Just try your best and forget the rest. My mom says that all the time.
Depending on if I've practiced in Instrumental Workshop {exactly what it sounds like,}
1. Warm up horn. {If in Winter}, with c scale and my own composed pieces.
2. Scales{Barrman} If an are given previous week}
3. Solo's given that week
4. Youth Orchestra Pieces.{Main focus is on this, since I'm new to it, 8 pieces playable, 12 total {4 which I probably won't play with them, seem too difficult}, split by week, 4 one week and other 4 next week.}
5. Compositions if any are in progress.
I take the night of my lesson {Thursday} and sometimes afternoon after rehearsal {Saturday form 9 am to 11 am} OFF to absorb information and think.
All this takes 45 minutes to over an hour, but my most important thing is to have fun and enjoy playing.
Buffet E-11
Buffet Moening Barrel, 65 mm, Backun Protege 65mm
Vadoren BD5 Mouthpiece
Vandoren M/O series gold Lig.
Gonzala's FOF Reeds 2.5
Post Edited (2013-10-25 23:55)
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