 The Clarinet BBoard
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Author: knappyman
Date: 2012-08-15 18:24
Hey all,
I have 3 auditions coming up, 2 opera orchestras, and one symphony. I feel very confident about them, except for the tonguing passages. Both opera lists have Bartered Bride, and the symphony has the first page of Don Juan and Mendelssohn 3, II. The Mendelssohn is getting there, and I can fake it a notch lower than marked, but the others are still really hairy. I've been working on my multiple tongue like crazy, but it won't be up to snuff in time, especially on the Smetana. Should I just bite the bullet and practice it slur 2 tongue 6 or something like that?
I've been doing the Robert Spring warm-up, which has helped a lot, but only so much can be done in a limited amount of time. Any suggestions would be most appreciated!
~Jeremy
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Author: Buster
Date: 2012-08-15 19:47
Jeremy,
Hypothetically, if you were to obtain a position with one of these orchestras, how would you go about addressing what you have admitted to be a problem?
If we're honest with ourselves we can often answer our own questions, though it might not be what we want to hear.
-Jason
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Author: knappyman
Date: 2012-08-16 01:51
I appreciate your candor, but I suppose I wasn't clear that I was looking for suggestions. Two of them are for local groups for which I believe I have a fairly good shot of winning, so I was hoping for feedback from people who have served on audition panels or who have won auditions that may have had similar obstacles.
I'm aware of my shortcomings as a player, and I'm fairly certain we all have those hurdles, even those who win auditions. The local gigs have already posted the rep for the season and is way easier than the audition rep, so I'm not sure what you're aiming for. Are you suggesting I don't take the audition? I don't mean to sound combative, but a little clarification would be nice.
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Author: Buster
Date: 2012-08-16 03:02
Jeremy,
No need for combativeness, but I will offer some clarity,
I'm somewhat inclined to dismiss the "level" of an orchestra as our aspirations should all be the same regardless of our current situations...
As one that has served on audition panels, though they be in a foreign country, knowledgeable professional musicians are far more inclined to overlook an inadvertent error here or there than an obvious gap or shortcoming in an auditoner's playing.
Those with ears are not as easily tricked into hearing any audition with caressed flaws as acceptable as many would like to believe.
On the other hand, if there is a "difficult" tutti passage thrown onto the list that will not be "heard" in context, an auditionee could show their knowledge of the canonical repertory by tactfully adding a slur here or there that would not disturb the music as a whole.
Also, we could surmise that performing a fairly standard excerpt, played within what has been scribed as an acceptable range of tempi, with slurs or hidden flaws may expose something.
These choices fall on the shoulders of the auditonee; but most musicians I have worked with would prefer not hear a colleague constantly fighting/hiding basic fundamentals while in the trenches.
(The occasional sins that might arise on a bad day or from a poorly orchestrated work are another matter.)
As an auditionee, I can't give you hints for improvement on a short-term timeline other than telling you to practice intelligently and expect progress as it comes...
Attempting to employ new skills that address any current deficiency, which is a wholly worthwhile merit-able journey, under fire in an audition is risky.
Attempting to fool a panel will get you nowhere if the jury has ears... There are hurdles and there are hurdles.
If smoke-and-mirrors are desired for the Panathenaea that are before you then others can chime in.
Panels want you to play your best as they do wish to hire the best fit for their ensemble, but it is necessary to be honest for them as well.
I do suppose as the posted repertory for the coming season is "easier" than what is needed to "win" the positions, the local orchestras may quite well have you and serve the locale well enough. At the end of the day we get to sleep on our own hurdles and choices.
-Jason
Post Edited (2012-08-16 03:07)
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Author: sonicbang
Date: 2012-08-16 17:12
I am prepairing for an audition as well, and among the excerpts there are the Dances of Galánta and some tricky passages from Bartók's Concerto and from Beethoven symphonies.
I practise etudes from the Kell book. I concentrate the ones with fast and light articulation, especially the 6th and the 8th. Those help me to play fast and springy staccato for a short time. After that, I practise scales and try to achive the same speed. This helps me a lot. I managed to play the Dances from Galánta in 145. Although this is 7 under the required speed, I rather play the passages clearly.
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Author: knappyman
Date: 2012-08-18 01:32
Buster, thanks for the suggestions. I'm sorry if I sounded whiny, but it is frustrating, and I'm sure you know. My obvious long term goal is to have a really solid single and double tongue at really rapid speeds, but that takes a long time to develop. I appreciate the lengthy response.
Sonicbang, that passage in Galanta is a bear. I have the Kell Book and and have used it with success. Right now, I do p. 22 from the Langenus book (at 120, 138, and 152), and all the scales all tongued (about 126), then slur 2 tongue 2 (152), then double tongue at 84, 100, 116, 138, and on good days 152.
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Author: DavidBlumberg
Date: 2012-08-19 02:49
If it's a low level, you may or may not be ok.
If it's a high level - they will catch it in a heartbeat.
You want your work to be at such a high level, that someone hearing it won't have a second though asto who the best player is.
http://www.SkypeClarinetLessons.com
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