 The Clarinet BBoard
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Author: Kevin
Date: 2002-07-17 20:28
I am having problems tonguing the passages in this exerpt cleanly. I have considered going to a softer reed but I like the sound of the harder ones( Van 4). Any helpful hints?
Thanks
kevin
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Author: GBK
Date: 2002-07-17 21:27
Practice slowly - use a metronome.After a number of weeks, gradually increase the speed.
Specifically:
1. Make sure the second beat (eighth on one, sixteenths on two and three) is not late.
2.Since the B natural has more resistance than the throat tones - practice to make sure it speaks as effortlessly and as evenly as the preceeding and following throat tones.
3.Listen to the flute in this piece - try and match their style.
4.If you have developed a double tongue - it is helpful in this excerpt. However, since most of the notes lie in the throat register
where tonguing is easiest, a good crisp single tongue is sufficient...GBK
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Author: Suzanne
Date: 2002-07-17 21:41
Practicing slowly in long, legato sixteenths, and making sure I am quite relaxed when I play both at the slow and the marked tempo, helps me to articulate cleanly. "Trying harder" to tongue fast only creates tension and a lead tongue. The more effortless I let myself feel, the easier the flow of articulated notes.
I also play the mid-staff C on the left hand and B on the right, and hold these keys down while crossing the break--makes is easier for me, though I don't know of a whole lot who do it that way. Worth a try, at least.
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Author: ken
Date: 2002-07-18 00:19
We've got a band transcription we drag out every year or two of the scherzo, a tonguing nightmare for the clarinets...here we ago again "playing the violins". Our conductor insists on a hell-bent tempo of 112-116=1/4 (of course in 1) that for concert band instrumentation no matter how good the players are is a train wreck lying in wait...at the very least pushes the envelope to where the whole piece sounds rushed/frantic. Everyone is forced to play catch up, create undue tension and ignore the bottom of the band where they should look to the foundation (low brass/string bass). We're forever concentrating too much on "notes" than making music...the bozo won't listen.
GBK is correct getting off (short) the 1/4s to set up the 8ths so they're not late otherwise they'll come out crushed, create a snowball effect, figures will be short-changed, unable to breathe properly or played evenly...one speed bump after another. Take the style and note length from the flutes and follow them off the cliff. Cross talk or handing off of the melody/phrases, section to section is crucial to tempo, flow and moving forward musically with purpose.
When playing the 1st part I find it helpful maintaining consistent meter subdividing in 3 and "mentally" accenting the 2nd beat of 4-note-8th note groupings, this is commonly known as the "artist-thesis" concept. Apply basic fundamentals, build/accent ascending 8th note runs from "bottom up", except for the A, B, A, C form the piece is generally constructed/shaped in 4-measure phrases in 3 and 8 in 1. Use downbeats to "arrive at" and as a "launching point" to the next phrase. v/r KEN
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Author: Jerry McD
Date: 2002-07-18 01:05
The above advice about going slowly is the most important. I would also recommend playing the entire thing on one note (throat A) and tongue the rhythm. When you are satisfied with the sound you are producing on the one note then add the other notes trying to maintain the same sound you were producing on the single pitch. Good luck, this excerpt is on every audition you will ever take. Earl Bates at Indiana U. used to say that you will be well served to play this excerpt every day. I think the point was it is easier to maintain a solid tonguing technique than to build it every time. By the way, I hate this excerpt. I know I play it reasonably well but I feel like a beginner every time I work on it!
Good luck,
Jerry McD.
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Author: susannah
Date: 2002-07-18 03:10
Ken...its not really "playing the violins", as the original orchestral version has the woodwinds playing the parts. Hence we get it for orchestral excerpts.
Forgive me if i didn't understand what you meant properly
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Author: Doug Ramsdell
Date: 2002-07-18 04:29
THANK YOU ONE AND ALL!
these are terrific suggestions, some of which I already "kind of" know, but it's great to have them stated so clearly and in one thread. I'll be looking at the Scherzo with new eyes from now on!
cheers
Doug R
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Author: Aussie Nick
Date: 2002-07-18 12:49
My teacher told me to practice the entire exerpt on the middle B, since it is more resistant, and if you do this and provide plenty of air/breath support, you'll find that the B's and C's pop out easier. Practicing slowly is the best advice though, and maybe practice the tonguing on your A clarinet, if you have one. I also second what Suzanne said about leaving the right hand B key down the whole time, and using left hand C.
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Author: susannah
Date: 2002-07-18 13:01
hey, just wondering...Kevin and Nick...are you preparing this excerpt for the AYO auditions?
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Author: ChattyClar
Date: 2002-07-18 18:04
Have fun with it! It is one of my favorite excerpts. Two years ago the William and Mary Theatre put on Midsummer Night's Dream, and I was fortunate enough to get to play in the pit. I remember how nervous I got when it came time to play the Scherzo. The trick is to relax. Just let it happen.
As far as reeds go, if you can't get it on the 4s, maybe they're making you work too hard. I played it on 3.5 V12s and they worked great. Personally, I feel that I getter a better staccato on softer reeds.
By the way, the Cleveland Orchestra recording, George Szell conducting, with Robert Marcellus is superb! Nobody tongues like Marcellus!
Mike~
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Author: Milklos Brabec
Date: 2002-07-19 12:33
Another fine recording of this work is vonKarajan with Leister playing....the ensemble is knife edge....MB>>>>
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Author: ken
Date: 2002-07-20 00:45
Nobody tongues like Marcellus because nobody else IS/WAS Marcellus; there are plenty others that tongue(d) just as well or better. The man is the "living end" by opinion only.
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Author: LaLa
Date: 2002-07-20 13:23
I always practice this at MM=80 where each beat represents the measure...
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Author: Miklos Brabec
Date: 2002-07-22 13:38
There are also alot of other great artists like mr. Marcellus and this is my personal feeling. Although a great orchestral / soloist we never heard Mr. Marcellus in anything other than the clarinet concerto by Mozart which is fantatic...yet articulations on this recording are far easier than the current one by Neidich with Orpheus or, the recent Sabine Meyer one on Bassett clarinet which she tonguues beautifully with snake like precision...Neidich is DG and Meyer EMI. There is also a very nice recording of this piece by Prinz which is alot like Marcellus in terms of taste and simplicity of expression yet depth of feeling....Respectfully yours, MB>>>>>>>
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