 The Clarinet BBoard
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Author: MNA
Date: 2014-01-04 23:33
In February, I have a college audition. That college is JMU-which is my top pick. The JMU requirements are, to "chose two contrasting pieces, one demonstrating slow, lyrical playing and the other demonstrating technical agility. Appropriate etudes would be selections from the Rose 32 or 40 etudes; appropriate solo repertoire: C. M. Weber: Concertino for clarinet Op. 26, Concerto no. 1 in f-minor, Mozart: Clarinet Concerto K. 622, Finzi Bagtelles or similarly standard concerti, sonatas, or solo works for clarinet."
I have been preparing two of the Rose Etudes, numbers 11 and 3. Is it appropriate to play two etudes at a college audition? I will be honest, I do not completely understand the requirements. Does it imply that I should play one etude and one solo repertoire?
I'm grateful for help. I live in a very small area and it's been extremely difficult finding a clarinet teacher, so I came here for advice. My band director knows how eager and dedicated I am, so he is starting to help me. However, he is not a clarinet player, so any advice that you give me would be a great help. I want to show them that I am a very dedicated musician. Thanks in advance!!
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Author: kdk
Date: 2014-01-04 19:11
If you're concerned about the audition requirements for a specific school (JMU - is that James Madison U?), I think I'd try to reach the clarinet department and ask the main clarinet teacher directly. It should be possible to send the teacher an email. You may have to go through the general email address for the school. Or call the school office and ask to leave a message for the clarinet teacher (use his or her name if you know it) asking your question and for him or someone from the department to contact you with the information.
My limited recent experience with college auditions would suggest that you should be prepared with at least one of the major solo pieces on their list (if you've never played any of them, it's now a little late to start on any more than one) as well as the etudes you've chosen. Then you'll be ready for whatever you're asked to play.
Karl
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Author: Ken Shaw ★2017
Date: 2014-01-05 04:37
MNA -
They list the Rose Etudes, so they can hardly fault you for playing two. Still, you should probably do one plus a solo piece.
In the Rose 32 and 40, 11 and 3 are both slow, or is it a typo for 1 and 3? They're also both slow, so you must pick something fast.
I recommend Rose 40/1 and the Weber Concertino. Here's why:
Since you're obviously talented and dedicated, you have will learned to play pretty fast. If you're doing it right, you'll be moving your fingers from the knuckles, making the quickest possible change from each note to the next. This is perfect for the technical parts of the Concertino, which is free at http://imslp.org/wiki/Concertino_in_E-flat_major,_Op.26_%28Weber,_Carl_Maria_von%29.
Most good high school players learn the Concertino. Showing that you know it will be a point in your favor. Don't worry that a million others are playing it. The audition judges are used to that. All that matters is how well *you* play it.
For the fast parts, go a little slower than your best speed. Playing perfect at 116 on the metronome is *much* better than 132 and sloppy. If they want it faster, they'll ask for it, and you'll have the advantage of having just played through it. 126 or even 120 is *plenty* fast if it's smooth.
The first note of the Concertino requires a piano (really ppp) entrance on the Bb, sneaking in almost inaudibly with no noise or splat. You do this by making your embouchure, putting the tip of your tongue near the tip of the reed, bringing up the air pressure and then *releasing* (not "tonguing") the tone by removing your tongue tip gently from the reed. Then you make a smooth crescendo and then play the descending scale very legato, like a tear running down your cheek or honey dripping down a spoon.
This legato is what you'll need for Rose 40/1. It needs a completely different kind of finger movement, very slow and smooth. Rather than put the explanation in here, I've posted a separate item.
If you can play the first two measures of Rose 40/1 like silk, you'll win the audition almost automatically. If you're having trouble, play the Rose 32/1 instead, and work hard on the legato.
Have all your scales and arpeggios, major and minor, "inside" your fingers through at least four sharps and flats, so that you can play them with no errors and almost without thinking.
Good luck.
Ken Shaw
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Author: Tobin
Date: 2014-01-05 06:05
Hi MNA,
If your Rose Etudes are well prepared you are satisfying the requirements that JMU has provided on the page. As Ken has pointed out -- you do need a tempo contrast -- slow and fast.
If you have questions I highly recommend contacting Janice Minor, the clarinet professor at JMU. Janice is very accessible and would be happy to provide you some insight as to the appropriateness of the pieces you have chosen.
Best option: contact Janice and ask to have a lesson within the next two weeks if she's available. Take the lesson, and put her instruction to use in the intervening weeks.
In past years every student I've had audition to JMU has been accepted. They often audition with sonata/concerto movements and/or some combination of Rose etudes.
Ultimately, stop taking our advice and get advice from the person who really matters: Janice Minor!!!
Best of luck in your preparations!
James
Gnothi Seauton
Post Edited (2014-01-05 06:07)
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Author: MNA
Date: 2014-01-05 01:34
Thank you to each of you!
Actually, it was a typo and I meant Rose 32 numbers 11 and 4 (sorry about that). I've taken each of your advice and it will definitely help in the future. I also will definitely start on Weber, is it possible to prepare enough for Weber in 7 weeks? Practicing is not an issue, I'll do what it takes.
I have also contacted Dr. Minor, however she is out of town for another week with limited e-mail access.
Thanks again!
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Author: Ken Shaw ★2017
Date: 2014-01-05 07:34
In Rose 32/4, you need to keep your tonguing light on the repeated notes. Also, human lungs don't hold enough air to play from the beginning to the fermata in one breath, and even if you could, the listener would nearly suffocate waiting for a breath. The usual breathing spot is in measure 5. Leave out the sixteenth D# at the end. Do the same at the end of measure 14, or make a short pause after the first note in 16.
In 32/11, keep the sixteenths strictly in time. It's marked "con duolo," "with grief," so play it as a lament. The descending sixteenth grace notes in measures 8 and 10 are like tears rolling down your cheek.
Ken Shaw
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