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Re: Audition pieces

Author: Bob Bernardo
Date: 2015-10-01 14:33

The first few lines of Debussy and the last page, mainly the last bottom 6 lines or so to the end are what judges look for. Sure the middle areas are kind of hard, but you have to nail that last page to the end, and they want to hear how musical you play the very beginning.

The Martino is difficult and growing. Meaning that more and more judges are aware of this piece, so are you playing in front of clarinet judges? If so they will know this piece.

How about the Copland Concerto. I was lucky enough to talk with Copland about this piece, but didn't play it with him or for him. He felt that every musician plays the cadenza wrong, not the way he wanted it to be played. It was to be a jazz type of orchestra piece. At the beginning everyone starts slow. That's OK. But then everyone starts playing the piece faster and faster and faster. Without a jazz feel. So fast that most of them screw up the articulation unless you double tongue. He didn't write the piece for players to screw up and fail, but to add fun and joy to the audiences as well as the performers. He was 75 when I was so lucky to talked with him then and he lived another 25 years.

So you may wish to try this, a slightly slower speed with a jazz feel. Can you play jazz? He told me that these are just notes. Do whatever you what with the beat. You can even play different notes if it doesn't have the jazz feel you want. An amazing lesson.

Let us know what you decide to do! Best of luck!

Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces

Yamaha Artist 2015

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