 The Clarinet BBoard
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Author: Won Kim
Date: 2001-10-30 02:01
Hello
I have a question about a clarinet choir. I'm a high school student, a quiet serious player, but not a major student. I recently talked to my band director and began a clarinet choir. There are 11 clarinet players in my band including 2 bass clarinets. There is a really good Freshman player who just won a state-level competition, and a Sophemore bass player who made a 2nd chair of the district band in her Frechman year. I have 2 more players who can handle a high school level pieces. But the rest of section are not very good and I have some difficulty on improving their skills. I'm also a student and I just realized that it is really hard to teach people who are not very good.
What I really want is to come out with a I rating at the Solo&Ensemble with a grade 6 music. I had a choir sectional today for the first time and I kind of disappointed.The sectional didn't go as fast as I thought and I wasted so much time on teaching them warm-ups and left fingering practice. We have sectionals on every Monday and Wednesday, 1 hour for each day. I really need some advices that how should I conduct the sectional so that we can get the best result on short time.
I'm also wondering that what should I do for some kids who have hard time on even the high school level pieces. (I cannot make them not to play because its a part of the class, and they will not feel good if I won't let them play)
I just got some clarinet ensemble pieces that are looked good for sight reading practice. But I need to decide a piece (hopefully grade 6) so that we can play in the Solo&ensemble. I was thinking about JS Bach's Brandenburg concerto No4 1st movement. I can play the violin solo and there are 2 player who I think can play the recorder solo parts. But I realized it is going to be really hard to work with the choir that I had today. Is there any suggestion for the music? I'll appriciate if you answer it.
Thank you.
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Author: Gordon (NZ)
Date: 2001-10-30 10:00
Just some ideas off the top of my head for consideration:
1. Forget the warmups. Just get on with rehearsing. They take up rehearsal time and I question their value for time spent. Tell members to warm up at home.
2. Develop confidence by going over one part of the music until it is secure. Then play it again so players can wallow in that feeling of security. The benefits flow to the rest of the music, and it sets a standard you are aiming for.
3. Always tell the players which pieces - or even parts of pieces - you intend to tackle in-depth at the next rehearsal. Expect them to prepare for this in their practice. The reheasal together is for putting the practiced music together, not for mastering the individual technical challenges.
4. Don't waste heaps of time at rehearsal on technical difficulties that clearly need more time spent at home before time at rehearsal is productive.
5. Divide the players in each section into two, with the insecure ones in the second group. Get the second group to repeat bars or phrases immediately after the first group - without break in timing. Excellent for those who learn fastest by immitation.
6. Similar. Divide into two similar choirs. They play alternate bars (while fingering ALL bars) - or alternate 4-bar groups, while you conduct from one to the other. This helps to teach consciousness of what other players are doing. The groups will try to play better than eachother. Then swap which group plays which bars.
7. Streaming. Divide you choir into two groups, the more able and the less able (lLets be honest - 'A' & 'B'). Sort your music into three groups, one to be played by group A, one to be played by both groups, and the third to be played by group B alone.
The first 1/3 of the rehearsal is for group B's 'special' pieces. (make sure they are high interest but relatively easy) The next third is for the combined group, and the final third for the A group. (Or the other way round). Encourage the groups, especially group B, to listen in when not required. Provide the group A music to any group B players to follow while listening. There may be considerable inspiration to practice this seriously at home and join group A for one or more pieces.
You may like to write some simplified parts for the B guys in the combined group.
8. Make recordings of the parts so guys can practice them at home with the recording. The better players could feel valued and involved in helping with the recording. This greatly assists relative beginners to rise to the occasion, especially if they are the types who learn best by immitation. The players who do not learn from analysis find it extremely difficult to practice challenging pieces at home withoput this sort of assistance.
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Author: William
Date: 2001-10-30 15:43
Gordon's advice is "right on," but I would add that in conducting your rehearsals, a few compliments will do much more to improve the "work ethic" of your choir than a lot of crticism. Also, be realistic in the ability of your choir members and pick music that is within their means to learn. Level 6 may be fine for you, but not for the ensemble. Being in the choir will only be a rewarding musical experiance if the music being prepared can be performed with some degree of quality. Then, be ever positive in your rehearsal technique. Say things like, "that was good, but lets try to be more effective in......." rather than, "that was terrible; "Do it THIS way (stupid)"; or "What's wrong with all of you--don't you ever practice??" Be focused and encourage good techinques and musical phrasings, but be nice in how you do it. Congradulations on your initiative and Good Clarineting!!!!! (to you and your ensemble)
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Author: Gordon (NZ)
Date: 2001-10-31 11:00
I agree, and a reason for going over a shortish section until it is really praiseworthy provides the opportunity to be honestly positive when the passage really does sound good.
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