 The Clarinet BBoard
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Author: Micaela
Date: 2001-11-10 16:12
I have my All County audition next Friday. All of the clarinetists have to play the same four Rose and Baermann etude excerpts- each labeled for technique, articulation, rhythm and musicality (the rhythm etude has really simple rhythm, there is more technique in the articulation etude than in the technique one, and so on). I'm pretty sure I'll get in, I was in last year but I want to do my best to stand out and get a good seat (it's a big county). I'm concentrating on accuracy and speed now, and I can play all of the etudes fairly well. But how can I stand out among the many clarinetists when everyone's playing the same thing?
Thanks,
Micaela
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Author: Keil
Date: 2001-11-10 16:58
Musicality and Tone!!! That has always been my saving grace... whenever me and an equally technical friend go toe -to- toe my musicality and tone wins out hands down... take some liberties with some of the pieces... add subtle but effective nuances like slight ritardandos, emphasize dynamics... dynamic contrast totally makes a judge take notice... don't let the line grow stagnet (sp?) always lead to the end of the phrase singing through your horn rather than blowing at it, as far as tone goes... conceputalize your ideal tone BEFORE you play a single note. For me i associate tones with colors... i always aim to produce either a dark violet color, dark navy blue, or a dark wine color all of which mixed with a hint of gold for vibrancy depending on the style of the piece. I know this may sound ridiculous but if you can take an intagible idea and associate it with something tangible then you're better able to get your desired affect. I hope this helps!
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Author: Larry Liberson
Date: 2001-11-10 19:59
Although Keil gives some good advice, please don't neglect the basics of good pitch and good rhythm. These fundamentals are essential for any real success as a musician, let alone a successful audition.
Pitch and rhythm are often taken for granted. I would suggest that you spend (or continue to spend) quality time with your metronome to help insure that your rhythm is precise and your tempi are accurate.
As far as exploring your musicality as per the above suggestion, I would add this: keep in mind that you are auditioning (I assume) for a spot in a band as part of a large section (as opposed to having one on a part). Depending, of course, on the subjective views of the adjudicator(s), what you may regard as being extra-expressive (as far as tempo changes are concerned specifically) may very well be thought of as a lack of rhythmic/tempo control and color their opinion as to your ability to contribute to a tight ensemble.
A little tasteful phrasing is never a bad idea--going overboard, however, is subject to interpretation!
Solid rhythm, good intonation (and the ability to listen and adjust), a good, well focused sound, observation of markings (with, as Keil says, good dynamic contrast) and a musical understanding and conveyance of that understanding are valuable to focus on--inotherwords, the fundamentals.
One thing you might find interesting--many who take auditions for major (and not so major) symphony orchestra positions (and these are most often those who have been studying at major music schools, etc.) don't make it past the first round. What do you think is the main reason for that?
Most often, it is due to out-of-rhythm playing. Food for thought, eh?
Good luck!
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Author: Kristin
Date: 2001-11-11 08:33
Hey Micaela!! Good luck next week!! Don't freak out like I would, and just play your best. Last year, when I auditioned for districts (similar to all county), I really made a concious effort at not being nervous and being super over prepared. What judges look for is not necessaraly a good solo sound, but one that will blend well with an ensemble. Along with that, just do all the musical stuff that you're supposed to and you'll do great! When you're first chair can I come to your concert? Maybe they'll get K.B. as the guest conductor ( I'm afraid to spell out the whole name), you know who I mean!!
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Author: allencole
Date: 2001-11-11 20:37
Very good advice on tempo/rhythm from Larry. Tempo variations are indeed not good news for section work, and judges could misinterpret any tempo changes as a tendency to speed up in the presence of easy fingering and slow down in the presence of difficult fingering. Besides, you can breathe life into any passage without varying tempo.
As far as standing out with uniform audition pieces, would you WANT the pieces to be different? That would make judging pretty subjective. District auditions for my students this year involve Rose 32 #7. It is probably too easy for effective judging in most respects, but it presents a few chromatic licks where the ability to use fork fingerings are foiled, and students who can work smoothly through them will stand out. There is also a fairly easy quasi Minute Waltz section of sextuplets that cross the break. The players who cross the break smoothly, and come out playing in time with true abandon will prevail.
Sax students are facing a piece that's fairly easy to finger, but which has some very specific articulation and a few trecherous jumps. Some terrific players with lightning fingers are going to lose points by failing to be precise in the articulation.
Look for things like this in your pieces and make them sparkle!
Final trap to look for: Don't rush slower passages that immediately follow fast ones. I'm seen some terrific players dash off a passage of lightning runs, only to come out of it by removing the dot from a dotted half note. Sometimes it's the EASY things that trip you up--and thus we return to Larry's advice about rhythm and tempo.
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Author: Micaela
Date: 2001-11-13 00:21
Thanks a lot for all your help. I think I'm on basically the right track, but I probably should concentrate on dynamic contrast a little more and make sure my Bs and Cs aren't too brazenly sharp. I should break out the metronome as well.
Allen- the articulation etude I have to play is practically an alternate fingerings marathon (it's the first four lines of No. 30 out of the Rose 32; it's in B major). The accidental E sharps make for a lot of middle/fork fingering dilemmas, many more than in No. 7. My teacher really emphasizes alternate fingerings, though, so I'm ok there. I always mess up the easy stuff too. I'll just try to FOCUS and not be too dumb.
Kristin- Not HIM! Maybe it could be S. P., but that wouldn't be that awful, I guess. How's Scheherazade (now that I can spell it)? I'm doing Mlada now, it's impossible.
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