 The Clarinet BBoard
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Author: musica
Date: 2007-04-07 23:33
Any suggestions on Presto section.... the first 20 measures is a killer
counting.....
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Author: Brenda ★2017
Date: 2007-04-08 00:03
If yours is anything like what we played in our clarinet choir, pay close attention and COUNT like crazy! Know your own part backwards and forwards before joining the group. It helps, too, to mark in pencil where others' parts start until you get used to hearing their entrances. Listen to a recording while reading your part...
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Author: clarinetwife
Date: 2007-04-08 13:20
This is one smokin' fun solo. Definitely listen to a recording with your music in front of you. Understanding the eighth note tied to sixteenth figures is half the battle. If you don't quite understand how to count the ties, practice the passage in straight eighths and sixteenths with no ties and then fit the ties in.
Another thing you can do because it goes by fast is to practice half of each measure at a time. Play the passage playing only the first two beats of the bar plus one note on beat three. Then beat rests until the next downbeat. Then play the first two beats plus the note on beat three in the next bar. Then practice the second half of each bar by counting two beats rest, playing beats three and four plus one note on the next downbeat, then rest until beat 3 again. After you can do this you should be able to put the part together like a jigsaw puzzle.
Good luck!
Barb
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Author: pewd
Date: 2007-04-08 16:33
are you referring to the 1st clarinet orchestra part?
2nd part? or a band arrangement?
- Paul Dods
Dallas, Texas
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Author: Chris P
Date: 2007-04-08 16:42
Not that it's of much help, but the presto is a doddle if you have the forked Bb mechanism (where the sequence drops down a tone and begins on C).
Did Rimsky-Korsakov orchestrate this before or after Sheherazade?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2007-04-08 16:45)
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Author: Ken Shaw ★2017
Date: 2007-04-08 18:09
Musica -
This is a familiar finger killer. It's on almost every orchestral audition.
First, keep your fingers relaxed, and move them only from the knuckle (where they join the hand). It helps to think about using muscles only to raise your fingers, letting them drop by gravity, without effort. Of course you don't really do that, but it's a helpful image.
Keep your fingers close to the holes. No flapping on this solo. Imagine you're moving just your fingernails.
Toward the end, you're moving around on the throat tones. Practice in front of a mirror to make sure the finger movements are as small as possible. Don't roll your left hand. Just nudge the A key.
Here are three pages of very good exercises for working out difficult passages by altering rhythms and notes:
http://www.williamepowell.com/pdfs/ProblemSolving.pdf
http://www.williamepowell.com/pdfs/ProblemSolving2.pdf
http://www.williamepowell.com/pdfs/ProblemSolving3.pdf
Ken Shaw
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Author: musica
Date: 2007-04-08 22:32
Thanks for the hints. I got called in at the last minute to do an edited version....
only to find that it was in the key of G not F like the original so all that
excerpt practice didn't help much... Glad I practiced the Polacheck studies
where he takes the excerpts in different keys in some of the studies.
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Author: joeyscl
Date: 2007-04-23 05:10
I'm playing this for my audition... along with The Ball from Symphonie Fantastique and Brahms Symphony No.4 3rd movement(if i remember correctly) :S
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