 The Clarinet BBoard
|
Author: sam
Date: 2002-03-04 14:51
I recently landed a job playing second clarinet in an opera/ballet orchestra. Can anyone give me any advice on general second-clarinetting (intonation, blend, manners, etc.)?
Thanks
|
|
Reply To Message
|
|
Author: jez
Date: 2002-03-04 15:48
Congratulations, Sam, on landing the job.
To have done so proves you must already know most things about doing it, but I will offer one small piece of advice;
Remember that first clarinets are delicate creatures with more fragile egos than they like to admit. If there's a problem with balance or intonation it's YOUR problem. It's your job to fit in with your principal whatever he/she does.
They like to be complimented frequently, so always react suitably after any big solos (whatever you thought) and assure them you didn't notice any slips.
They sometimes get carried away with how beautifully they are playing, so make sure they always know where they are in the music otherwise they may miss an entry and leave you playing by yourself (remember that's your fault too)
Be prepared to step in and play the first part in case of sudden attacks of water or pads dropping out. It can save them from any embarrassing silences.
Always have 2 pencils.
Seriously though, well done. Let us know how you get on.
|
|
Reply To Message
|
|
Author: William
Date: 2002-03-04 16:52
Also, always be ready to provided needed technical assistance. Like the time my principal clarinet partner declared, just before the concert--with horror on her face and anxiety in her voice--"My A clarinet isn't working." All it would do is sqwauk or not respond at all. She had checked her reed, looked for missing pads, all of the obvious to no avail--what to do??? I would have to "take the solos" (which I had practiced, as a responsible 2nd clar.) but I offered to "look the clarinet over" just to be sure. Sure enough, it sqwauked just as well with my mouthpiece and reed, but while removing my mpc to hand the instrument back to my frantic collegue, I casually took a look down the bore. Something was blocking my view in the lower joint!!! After borrowing a tympani mallet, you should have seen her look as her tube of cork grease fell out of the lower joint and bounced from the large tymp. onto the floor. You can imagine the reaction of the rest of the ensemble as well.....and the conductors puzzled glare.
Bottom Line: always be ready to be of assistance in times of need--the second clarinet is the most under-rated, unappreciated, thank-less (we never get to stand) and underpaid position in the orchestra...but quite often, the most important. Good (second) Clarineting!!!!! (and always smile when you say, "That last solo was great!!!!")
|
|
Reply To Message
|
|
Author: GBK
Date: 2002-03-04 18:02
Sam...All the above advice is quite good.
Most importantly, "jealousy and envy" should never enter into your mind as a second player. You are there as a team player and a (very important) supportive role.
Too often I have played with 2nd chair players who were "disgruntled 1st chair wanna-be's", and brought that attitude to rehearsal. They didn't last long.
Happily accept your role in the over-all scheme of this music making experience. All parts are important, but comraderie in your section is paramount.
Enjoy...GBK
|
|
Reply To Message
|
|
Author: Sandra F. H.
Date: 2002-03-04 20:42
I've been first many times, and I've played second many times. (When the 1st bassoonist and 1st clarinetist are the personnel managers, what do you do?). The above information is wonderful. A first isn't a good first without a good, supportive second. If the second player is sensitive to the clarinetting of the 1st all is successful. I once received a great compliment from a first chair: "Thank you for your good support. I really appreciate the way that you play". Enough said! Good luck!
|
|
Reply To Message
|
|
Author: diz
Date: 2002-03-04 21:37
No further advice needed, but make sure you look at the parts for Daphnis and Chloe - Australian Ballet put this on as a ballet once and it's fiendish for the clarinets (and everyone else).
|
|
Reply To Message
|
|
Author: Bob
Date: 2002-03-04 23:05
Lotsa luck Sam, I envy you. Just remember that a tutu is not the same as a tutti.....
|
|
Reply To Message
|
|
Author: diz
Date: 2002-03-04 23:07
By the way - which orchestra? Just curious!
|
|
Reply To Message
|
|
Author: elmo lewis
Date: 2002-03-04 23:16
Some advice from my teacher-the second player's job is to make the first player sound good.
|
|
Reply To Message
|
|
Author: rmk
Date: 2002-03-04 23:28
My teacher (Leon Russianoff) used to say that if the principal player was a half-tone flat and two pages ahead, you should be right there with them.
Remember that second is also a solo part. Many second parts are more difficult that the principal part (such as the opening of Daphnis). Don't be afraid to play out, especially if you are an octave lower than the first part.
It also helps to be on friendly terms with the other second players.
Whatever you do, don't warm up on the principal player's big solo of the evening, and don't finger along while he/she is playing it!
(We have a sub who does this, and it drives me nuts).
|
|
Reply To Message
|
|
Author: "Sam"
Date: 2002-03-05 13:58
wow!
Thanks everybody. I really appreciate all of your advice.
I'll be sure to put it to good use.
Marion Catina Franklin (screen name "Sam")
2nd clarinet for the Florida Classical Orchestra (which really plays the Miami Ballet, Florida Grand Opera (we rotate with the Florida Philharmonic), and the Florida Sunshine Pops)
|
|
Reply To Message
|
|
Author: jez
Date: 2002-03-05 15:51
Another couple of things occur to me;
If your first clarinet is playing a solo with a trill in it, it's important to resist the temptation to lean down to your instrument (it's best if its on a peg) and rattle your noisiest key (I find the RH bottom F sharp best) along with their trill, so it sounds like their clar. needs overhauling.
Also it's a very bad idea, if they're playing staccato quarters, to produce a ffft ffft ffft noise (you can do this just with the tongue, so it's not noticeable) along with them. This makes their articulation sound distinctly different.
|
|
Reply To Message
|
|
Author: Ken Shaw
Date: 2002-03-05 18:57
Sam -
As the others say, the good players (and the ones who get rehired)play their parts well, and together with the others. I was at a master class with Anthony Gigliotti, and the "designated victim" was playing the solo from Fingal's Cave. Gigliotti joined in for the duet part, matching perfectly and reinforcing the soloist at every point. The whole thing was magically transformed.
I also went to a Cleveland Orchestra concert where they played the Dvorak 8th, with the big solo for clarinet duet in the slow movement. Marcellus and Ted Johnson breathed and played as one. I think Johnson reads this board. If so, perhaps he could tell us his memories.
Best regards.
Ken Shaw
|
|
Reply To Message
|
|
Author: Sally Gardens
Date: 2002-03-05 23:27
jez, are you aspiring to be the Scott Adams ("Dilbert") of the orchestral world? ;-)
|
|
Reply To Message
|
|
Author: Doug R
Date: 2002-03-06 03:40
Having played both chairs (principal/2nd clarinet & lead/2nd alto in a big band) I hereby claim playing 2nd is actually HARDER: you need to know everything your lead/principal player knows (including his/her style/habits/approach/interpretive glitches) and be able to mirror them absolutely, instantaneously, and with a blended sound. It requires developing a special kind of listening to do that, and it'll sharpen your ensemble playing in any situation. (Frequently, 2nd clt. has ensemble lines with horn or viola, rather than 1st clar., and you need to blend with THEM too.) Also, in situations when the section is laying out for long rests, ALWAYS have the count: I can't tell you how many times the lead/principal has turned to me and said, "What's the count?" It's part of the job description.
Smart, aware 1st players really, REALLY appreciate good 2nd playing...and when you're playing 2nd with a really good lead/principal player it's a hell of a lot of fun too.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
