 The Clarinet BBoard
|
Author: jez
Date: 2002-03-13 00:29
It seems to me that there is a bias (almost an obsession) on this board to discuss equipment; reeds, mouthpieces, instruments, ligatures, shoelaces, etc.
While I am quite happy to join in this sort of debate and add whatever of my 'wisdom' that seems appropriate, I think we could all benefit more from a discussion about other aspects of clarinetting. We all find something that suits us eventually, or get used to whatever we have.
I'm interested in people's approach to learning and practising.
Let me kick off with my ideas about practise.
I always start off with tone exercises based on the Marcel Moyse flute studies, working on maintaining a consistent sound throughout the range of the instrument. Then an exercise in control of the altissimo register; I play bugle-calls, fingering middle B and playing the harmonic series available (not stuffing anything up the bell, as has been suggested here) to develop the ability to choose which harmonic (squeak) is going to come out.
Next an exercise in flexibility of the embouchure; I start on a high C and lip it down a semitone, then finger B (normal embouchure) then lip that down to Bb and so on.
Tonguing; I practice this always as fast as possible, gradually increasing the number of notes, thereby building up the stamina.
Fingers; I'm not so organised here. I practise any nasty looking passages that are coming up in different rhythms til they feel comfortable but don't habitually play any of those fiendish exercises that I know I should.
Intonation; apart from the flexibility exercise, I force myself to learn scales of quarter-tones to become accustomed to fingering things appropriately to the context.
Enough said (some might say too much) Share your ideas on self-improvement!
jez
|
|
Reply To Message
|
|
Author: JMcAulay
Date: 2002-03-13 05:46
Say, jez, that sounds good t'me. Now, pardner, what kinda hardware have ya got? (ducks)
|
|
Reply To Message
|
|
Author: graham
Date: 2002-03-13 08:19
Great. I'll try some of these!
The point about the bell B and the harmonics reminds me that I have a desire to use the overblown G with that fingering in one part of the last (?) movement of Weber 1. It's where the clarinet re-enters on the G on the top of the stave, drops to bottom E, and then does a rapid semiquaver scale up to (I think) bell B. The G fingered as a B is very raw, slightly sharp, but you can lip it down, and (best of all) very loud. It creates just the impact that is needed at that point, but could be regarded as rather wild and uncouth. Any opinions?
By the way, this does not work on a German bore instrument as the G is then nearer G sharp (oops, sorry, I started talking equipment there)
|
|
Reply To Message
|
|
Author: Kim
Date: 2002-03-13 14:30
OK, I'll add a few that I do that you haven't mentioned.
Long tones (pp-ff-pp) on every note until I'm basically huffing and puffing afterwards. (This helps me to stretch my air capacity-something that I always have to work on.) Along the same lines, I'm a runner/exercise nut. I find that if I take more than a day or two off from some type of aerobic activity that my air capacity (translates into ability to shape phrases how I'd like to) shrinks.
Also, legato fingers. This can be practiced with scales/whatever. I find that the way that I use my fingers (slamming them down vs. what I'd call 'finger ballet') really makes a difference musically.
And I always work on articulation stuff for speed/voicing.
I think that this is a great idea for a thread. I hope that you get some more responses.
Kim
|
|
Reply To Message
|
|
Author: javier garcia
Date: 2002-03-13 14:31
I don't have time to practice either. I cannot play all days, and I feel lucky if I have 40 minutes a day to play.
I do some scales and chords, a little of stacatto, and it's over
I play with a quintet once a week, almost all amateurs musics (last year I not played at all)
Does anyone has tips for a good using these 40 minutes. (I also play my bass)
|
|
Reply To Message
|
|
Author: jez
Date: 2002-03-13 21:21
Jim S
A quarter-tone is the note half-way between 2 semitones. C quarter-tone sharp is half-way between C and C sharp. C three-quarters sharp is half-way between C sharp and D. A quarter-tone scale is like a chromatic, but with twice as many notes.
Have fun
jez
|
|
Reply To Message
|
|
Author: David Spiegelthal
Date: 2002-03-13 21:28
If you practice playing quarter-tone scales, does it take twice as long? I'm already pressed for time............ By the way, jez, what do you think about using orange peels to humidify ligatures? I HATE it when my ligature cracks whenever I play gigs in the Himalayas.
|
|
Reply To Message
|
|
Author: jez
Date: 2002-03-14 08:44
David S.
Since you "don't have time to practise anymore" twice as long will still be the same amount of time.
Forget the orange peel. While you're in the Himalayas don't miss out on the opportunity to soak your shoelace in yak's butter
|
|
Reply To Message
|
|
Author: jez
Date: 2002-03-14 08:49
Javier,
Whatever amount of time you have I would plan to spend half of it doing exercises of the type suggested by Kim and myself, before playing whatever music you're working on.
|
|
Reply To Message
|
|
Author: Jim S.
Date: 2002-03-14 16:44
Again, am I stupid or what? How do you practice a quarter-tone scale? Do you install a slide whistle attachment?
|
|
Reply To Message
|
|
Author: Mark Charette
Date: 2002-03-14 16:59
You shade fingerings, make up new ones, etc. Living in Detroit I get to hear an awful lot of Middle Eastern music, and they'll have a clarinet <b>section</b> playing quarter tones fast and in perfect unison! (I was going to say "in tune" ... but then again, it's a quarter tone ...).
Or you could buy one of those Chinese clarinets on eBay that play in random quarter tones whether or not you want them to ...
|
|
Reply To Message
|
|
Author: jez
Date: 2002-03-15 12:34
Kim, Graham,
Thanks for joining in my little attempt to start an interesting discussion. It appears not many people have any interest in practising, or they're not prepared to share their ideas lest others benefit and maybe overtake them. I think it's sad that people think they can improve themselves just by getting 'better' equipment. In my experience it doesn't work that way.
Now this thread has moved off the first page I know it will get no more responses.
In future I will try to remember to restrict my comments to the relative benefits of ligatures etc. (if I can think of any)
Thanks again,
jez
|
|
Reply To Message
|
|
Author: David Spiegelthal
Date: 2002-03-15 14:14
jez,
Don't take it so hard......The best way to improve is to practice, certainly! And the best way to practice is to DO IT, not to talk about it. Furthermore, practicing is such an individual thing that it really helps little (IMHO) to read about how someone else practices ---- unlike equipment reports and tips that are more universally useful. End of sermon. Peace!
|
|
Reply To Message
|
|
Author: Kim
Date: 2002-03-16 00:02
Jez,
I have one more for you in regards to pitch/intonation. (Shows that I need to do it more since it slipped my mind!)
I use a tuner with output (basically that sounds out the notes) and play unisons, then intervals against the notes. I find this much more useful than working with the needle, as it trains my ear better. Especially for those intervals that don't sound exactly right if both notes are technically in tune. (Raising/lowering the pitch of the 3rd depending on whether it's Major/minor, etc.)
Oh yeah, and the most useful practice tool of all is my minidisc player (digital recorder). My students are always amazed at how different they sound from what they 'think' that they sound like when I first record them. I'm sometimes still amazed at how skewed my own perception can get after a spell of not recording myself.
I'm sorry you didn't get more contributions to this thread. It's definitely a more worthwhile topic than many that I've seen on this board.
Take care,
Kim
|
|
Reply To Message
|
|
Author: jez
Date: 2002-03-16 00:02
David S.
You misjudge me entirely. I don't take things hard. I'm far too arrogant for that.
IMHO the best (I might say the ONLY) thing worth learning is a variety of practice-techniques. I'm still keen to improve. That's why I started this thread. Kim has put forward some good ideas and Graham has made me think of using some fingerings I had only associated with exercise, in performance, so it has worked so far.
One thing to beware of; If you get hold of some Nepalese yak's butter, you might find it has a certain resemblance to your ideas about practice........... it stinks.
peace
jez
|
|
Reply To Message
|
|
Author: jez
Date: 2002-03-16 00:08
Kim
thanks for that. we must have been posting simultaneously.
|
|
Reply To Message
|
|
Author: GBK
Date: 2002-03-16 01:27
jez...I want to respond as this is a quality thread, and worthwhile discussion topic.
I've come to the realization that (after too many years of playing clarinet) what I now do is "maintenance" rather than try for vast gains in self improvement. After a while, (or a career of playing) I believe we all eventually come close to reaching our full potential, and further gains after that are very small.
I now can generally get lots of quality into a smaller time frame, as I can use the available practice time more efficiently.
Tonguing, legato etudes for endurance and phrasing, review of selected orchestral excerpts, the current orchestral literature we are playing, Baermann III , and one major repertoire solo are always on my music stand.
I try to get to everything in each session. I also make quite certain I can flawlessly play the etudes and works that my students are presently doing (eventhough it gets tougher every year)..GBK
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
