 The Clarinet BBoard
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Author: locke9342
Date: 2016-02-13 07:38
I'm currently practicing the weber concertino and the runs are kinda killing me. Especially jumping between hands, are there exercise that can help with that or should I just keep practicing this specific run?
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Author: Paul Aviles
Date: 2016-02-13 14:43
My contention is that any coordination problem is a sign that the movements where not learned slowly enough. If you continue to play the passages that bother you in a way that "kills you," you only continue to reinforce the incorrect movement.
Slow what you are doing WAY DOWN until it becomes stupid easy. And by that I mean to the point where you say to yourself, "aw, but ANYONE could play it that fast!" And then do it again, and again and again and.................
Reinforce like this for a solid half hour or so. Then just let an experimental run just happen and see what it sounds like.
Whenever anything is sloppy, you need to slow down; repeat, repeat, repeat; before putting it away. But alway end with slow and dead on.
.................Paul Aviles
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Author: Ken Shaw ★2017
Date: 2016-02-13 17:53
See my posting on the Concertino at http://test.woodwind.org/clarinet/BBoard/read.html?f=20&i=270&t=259.
Basically, you work out the difficult changes by isolating them and practicing them short-long and then long-short.
Also, as Tony Pay says, for the really fast runs you need to start lifting or putting down fingers before the actual time comes to move them.
But please read the whole posting. There's a lot more to think about in the Concertino than playing the fast parts evenly.
Ken Shaw
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Author: Paul Aviles
Date: 2016-02-13 19:34
Hey Ken,
You may want to put a context or added explanation to the Tony Pay comment about "pre-momement," because (to be honest) you lost me.
...............Paul Aviles
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Author: JonTheReeds
Date: 2016-02-14 00:44
As you're playing one note you should already be moving to the next note?
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The older I get, the better I was
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Author: Ken Shaw ★2017
Date: 2016-02-14 01:03
When you're playing a fast descending scale, start the lower fingers moving down while the ones above are sealing.
You can't quite do that on an ascending scale, but you can certainly relax the upper fingers and get them ready to move.
Also, it's important to keep finger motion to a minimum, particularly going across the break. Watch Drucker's fingers https://www.youtube.com/watch?v=SR9oxnm66bY, which barely move at all. Remember your practice in learning to cross the break, when you put down all your right fingers and a couple on your left hand. The rips in the Concertino go by so fast that no one will notice if the throat A or Bb area tiny bit low.
Ken Shaw
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Author: SarahC
Date: 2016-02-14 01:30
any runs ---
slow practise
slow with different articulations
slow with different rhythms
then with the metronome 5 times at slow speed, then raise the speed by one notch and do 5 more times, and repeat to the fastest speed on the metronome. If you can't handle the speed, then go back a notch and do 10 more times, and then tomorrow... hopefully you can get one notch higher...
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Author: Paul Aviles
Date: 2016-02-14 02:39
Thanks for expounding on that. The Tony Pay remark that was more meaningful to me about fingers was when he pointed out that anything other than trills are indeed slow fingers but with velocity. Each individual finger moves up (or down) then waits for the next pass. It is the momentum of the coordination from finger to finger that is the issue.
.............Paul Aviles
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Author: locke9342
Date: 2016-02-14 03:49
I'd just like to put out there that I fully understand the concept of practicing slowly and that when I said killing me I meant that it was the only thing holding me back from making it really clean (got a superior on it yesterday).
Sorry if that sounds really defensive, but my main question was about if there were specific exercises that helped with this or if it was just a situational thing which it looks like it is.
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Author: Bob Bernardo
Date: 2016-02-15 12:51
Slow, slow. slow. for a week or 2, maybe a month. Use a metronome. Be able to play each passage 10 times correctly, without a mistake. Or even a measure 10 times without a mistake slowly, before moving the metronome up just 1 notch. Frustrating yes. But in the long run in 3 or 4 weeks, or even 6 months from now, these tricky runs should be played cleanly. I didn't come up with this type of practice habits, many famous instructors did.
Also play a lot of scales and 3rds that are in the same key signatures as this piece. Practice the scales the same way, slow, slur, slur 2 tongue 2, tongue all of the notes cleanly, using a metronome. Try to get the articulation up to around 128 or so; 16th notes,
Then my friend you will have mastered this piece. It's hard, but you did it! Most players spend a lifetime and can't play this piece because no one taught them how to practice it correctly. Bottom line is getting the brain, the nerves, the muscles, and the tiny nerve endings all working together. It's pretty much a form of physical therapy and or occupational therapy.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
Post Edited (2016-02-15 17:33)
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Author: SarahC
Date: 2016-02-17 00:40
I guess all the suggestions made ARE the specific ways to deal with coordination issues.
I personally find that slow practise isn't enough on some sections, then I do rhythm and articulation changes, and then I am there. That is my main trick.... But it isn't really a trick hey... it is just a combination of hard work... I find I can get a tricky run mastered in a few days if I do a whole heap oif things like that with it. But it is just hard yakka at the end of the day!
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