 The Clarinet BBoard
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Author: sarawashere
Date: 2015-09-13 02:18
How do you even tackle long pieces like concertos? I'm just finding myself very flustered, not knowing where to start or how or what I'm doing. I'm learning Weber 1. Also, I'm having a really hard time with fast and technical passages in general. Any advice?
Thank you!
~Sara
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Author: Caroline Smale
Date: 2015-09-13 04:00
1. Break work down into small sections and learn each at a time
2. Slow practice, especially technical stuff and never play it faster than you can do it error free. Break the technical sections down into short chunks and practice practice practice.
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Author: johng ★2017
Date: 2015-09-13 08:11
In addition to Norman's excellent practice ideas, I would add a #3 - Once you have achieved some mastery of the piece, play though each of the movements so you can understand where the music is leading overall. Along with this would be study of the score or piano part and listening to fine performers doing the piece. Then it's back to #1 and #2!
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: Ed Palanker
Date: 2015-09-13 17:24
I agree 100% with the above comments. I want to add my personnel practise. When I learned the Nielson Concerto I learned one page at a time. When I would begin page two I'd first review page one as many times as it took first, then on two page three reviewing page one and two first etc.
When learning a Weber, I'd do the same thing but since each movement is shorter than the entire Nielson I'd work on one techniqual secton at a time. After learning one, I'd review it and go on to the next, etc. until I "mastered" all the difficult passages in that movement and playing through the entire movement each practise day "AFTER" first reviewing the difficult passages again at a tempo I could play them and working them up to the performing tempo. Also, trying to memorize those difficult passages helps, at least finger memorization so you can think of the music not the notes once you have that under your command. At least this is how I used to learn difficult pieces and encouraged my students to practice. In the end, always think of the music.
ESP eddiesclarinet.com
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Author: fskelley
Date: 2015-09-13 20:37
One problem with any sequential approach to a long work is- the first part tends to get the most repetitions and the last part the least. That's especially true with the "review 1 and 2 while learning 3" kind of protocols.
Why not break a work into natural divisions (probably not ideally per page), then treat them as much as possible as independent pieces, or learning units? Then, randomize the order of how you learn and practice them. The goal would be to treat them equally, kind of like the old screen saver idea that every pixel gets equal usage over time.
I do the same thing with the ~10 songs I am working to get ready for concert use. Even though I have already determined the order I expect for performance, I am randomizing the order I practice them. Every song sometimes gets played first thing on a fresh reed, and sometimes last thing when reed and I are both about to give out, and sometimes in the middle. And I think all that will make the correct sequential performances better. No song gets preferential treatment, or left out like an unwanted cousin.
Yes you do need to know how to correctly transition from 1 to 2, 2 to 3, etc. Occasionally do them in the right order. But not most of the time. Am I all wet?
Stan in Orlando
EWI 4000S with modifications
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Author: JasonOlney
Date: 2015-10-14 02:56
My favorite method for large works is attempt to be systematic. I break it apart into large sections that are relatively well-matched for difficulty and duration and then number them. I then have a random-number generator app that I use to choose the sections for me. I give each section ten or fifteen or thirty minutes or whatever. That way you don't feel so overwhelmed and you're sure to practice everything. I think it also helps you notice form and repetition or development of material.
I also do this with orch excerpts. This is especially helpful for getting you ready for the audition when you don't know the order of the pieces.
PS- I just noticed fskelley's (Stan) response- we're totally on the same page.
Jason Olney
jasonolney.squarespace.com
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Author: Bob Bernardo
Date: 2015-10-14 04:03
I've often taken the fast 16th notes or 32nd notes in some pieces and use the metronome. CUT the notes to as slow to 1/4 or 1/8 note at a slow metronome speed. work your way up to faster speeds during a 2 or 3 week period, of as long as it takes. Also play a lot of scales that are in the the key of the piece. Scales include 3rds. Don't rush this. It could take a month or more, perhaps 6 months.
After your technique gets better from practicing, often slower movements are harder to play. You have to play them very musically, not just play the notes. For example I think one of the hardest pieces for me to play is the second movement of the Mozart Concerto. I have to think of romantic classical dancers performing. You can't just flop the keys down you have to sometimes press and release the keys slowly, for a velvety flow to the next note. Not a note that pops out. You don't want to hear a pop.
You can use this slow technique to practice the fast passages as well. You are training the brain and your fingers to work together. So in short when you make a mistake often the fingers and the brain are not teamed together. Pathways between the brain and your fingers will soon develop a strong link and your problems will be solved. Kind of cool how this works. So as the others have said play slow.
Keep us posted and write back when you find something that is working.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: ClarinetRobt
Date: 2015-10-15 02:48
All brilliant advise. I also employ breaking technical stuff into 'practice' rhythms.
1) Dotted eighth, sixteenth (day, to-day, to-day, etc)
2) Sixteenth, Dotted eighth (to-day, to-day, to-day, etc)
3) Eighth, two Sixteenth (pine-ap-ple, pine-ap-ple)
4) two Sixteenth, Eighth
5) triplets (I usually slur in groups of three)
Breaking up the rhythm will help you inadvertently focus on different notes within the beat in a technical section. The practice rhythms may have end on a weird note at the end, but that's ok. You'll get the gist. Go through all five. Slow then quicker. Put if all back together slowly as written.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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