 The Clarinet BBoard
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Author: gregbaker112@gmail.com
Date: 2015-04-24 04:21
Scheherazade (Rimsky), mvt. 3 pickup to G. The clarinet and flute (piccolo?) have a duet that is in the altissimo register. It is marked staccato with accents, but it is also marked piano.
How do I handle this excerpt in an audition? Do I try to exaggerate the dynamics?? Thanks.
Greg Baker
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Author: JHowell
Date: 2015-04-24 05:22
Risk/reward. It's hard to play it with good sound/pitch/articulation at a true piano, but easy to play it loudly. So you can distinguish yourself with a really clear, clean altissimo staccato at a soft dynamic. But you don't need to exaggerate to the point of inaudibility; you have to contribute to the color in the orchestra.
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Author: kdk
Date: 2015-04-24 05:43
How do you mean to "exaggerate" the dynamics?
What level orchestra are you auditioning for? Is this particular excerpt specified, or do you need to be prepared with the entire movement? the entire suite?
There are three octaves involved - piccolo and both clarinets (not really a duet with picc) - so it might not be the part of Scheherazade that an audition committee would most want to hear in an audition for 1st clarinet, but I don't think you have much choice but to play it softly if you're playing it alone (not in a realistic orchestra context). The only dynamic indicated is piano, so there's really nothing much to exaggerate. It doesn't say pianissimo, so you shouldn't need to play so softly that you're on the verge of losing control.
In an actual orchestra setting, you (or the conductor) would have to gauge the level by the balance among the three melodic instruments against all the other instruments that are playing accompaniment. A piccolo in that range has a hard time playing really softly, and there's a lot of light percussion, pizzicato low string and solo trumpet sound going on that may affect how loud you can play the 1st clarinet part.
Karl
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Author: Paul Aviles
Date: 2015-04-24 05:58
Another perfect example of Richie Hawley's contention that everyone on the audition committee will know whether you've played this in context before.
..........Paul Aviles
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Author: gregbaker112@gmail.com
Date: 2015-04-24 06:41
Karl: It is specifically on the list of excerpts, but I am looking at other spots in both parts, since there are two clarinet positions open.
Paul: You are exactly right. I meant to say context instead of exaggerating dynamics.
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Author: Ken Shaw ★2017
Date: 2015-04-24 16:47
The excerpt tests your ability to play softly and precisely in the altissimo. You'll be playing alone, so you'll need to be really soft, while keeping the sparkling dance affect.
Ken Shaw
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Author: johng ★2017
Date: 2015-04-24 17:47
Here is what Peter Hadcock had to say about this passage in "The Working Clarinetist": "...This is a good spot to put a small fold of paper under your register key so it can barely open...The first two pickup notes are usually held back a little. I think the reason Rimsky-Korsakov put the accents on the tied eighth notes was to give the music a feeling of 3/4 rather than 6/8. Be very careful to play the sixteenths accurately. If you start "throwing them off" too much, you may get into trouble in measure 4." (3 after G)
Since I am playing this piece currently, I think I'll give the paper under the register key idea a try....not sure what it will do for me, but I respect Hadcock's thoughts about playing.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: Ed Palanker
Date: 2015-04-25 15:35
Why don't you listen to a few recordings from major orchestra's to "study" the way it is usually performed. I think you will notice that it is played piano but not an exaggerated one and the accents are gentle accents. Obvious but gentle. Play it comfortabley but not "too" loud or too soft. If the committee likes the way you play but wants to hear you to play it a bit "softer" someone will ask you to do it again that way. Just don't exaggerate anything, play it delicately and on the subtle side.
ESP eddiesclarinet.com
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