Author: Alexis
Date: 2021-02-26 13:14
I think dividing into sections is a good idea in general.
Where possible, always think of the musical gesture. So even in the technical passages, think about the destination, momentum and character from the very beginning, even in slow practise. In more lyrical passages, pay attention to the feeling of playing the phrase expressively, again thinking of the destination and shape of the phrase.
I think it’s dangerous to separate ‘technique’ from ‘music’ ie learning the notes and rhythms almost as an exercise- what you end up doing is learning a very bland version and then trying to ‘add’ music, but this doesn’t work well because how you blow, adjust and ‘express’ is intimately tied up with the rest of your body, fingers included.
Not ignoring the above.
On mastering the fingering, I was at a James Campbell masterclass (accidentally...in Dusseldorf..!) where he advocated really exact finger movements - good coordination not speed - which has stuck with me.
I would add to this idea: our brains like patterns and where possible will revert to a learned pattern of notes. The Nielsen cadenzas are difficult in one respect because they are mostly unlike other patterns we know eg a major/minor scale.
The order of moving fingers is unfamiliar or challenging, so we are not able to execute the movement cleanly. Plus it takes mental resistance to not revert to a familiar pattern (a good example of this would be a scale that is basically chromatic but with one or two exceptions)
In my experience, when I have learnt a piece well, it is basically memorised. It’s more about getting the sections in the right order!!!
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The Clarinet BBoard
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