What tricky passage are you struggling with?
This week I’d love to know about tricky passages you’re working on! Whether it’s from clarinet repertoire, an audition you’re preparing, pieces you’re learning with your community band or just a scale that is never quite working: let’s hear about them!
We’re going to have a livestream on the 14th of July where we look at the tricky bits that everyone is working on, and I’ll work through them live and offer you some feedback.
The easiest way to share is to just post a photo from your music stand of the tricky passage in question, but you could also describe the bar numbers, or just tell us what scale it is (is it B major? I bet it’s B major…).
I’d love to help you work on the things that are giving you a bit of trouble!
9 replies
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I'm working on a the Afro-Cuban Concerto for wind quintet by Valerie Coleman for my summer chamber music camp. There's a really nice clarinet solo that's not too technically difficult (I do need to get it under my fingers a lot better) but I need advice on the expressive Cuban feel it needs to have. It sounds really stiff and deliberate when I play it.
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Not until the first week of August.
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It would be great to hear from some more of you - I will address your tricky passages in the LIVE on July 14 so here’s a chance to share a bit of music (as Nancy did above) and have me talk specifically about it! (You don’t have to be free to attend the LIVE to post - you can watch it after since all the LIVEs stay recorded on tonebase)
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Hi Heather!
It‘s from Claribel by Eugene Bozza. I think the piece consists of tricky passages everywhere, but the marked section would help very much. ( my fingering is different, I play german system, need no help on that)
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Anything with a combination of speed and articulation - a notable example is the cadenza after the slow introduction to the Copland Concerto, where he throws in register breaks as well. Interesting observation - many clarinetists tongue their way through this well. But listen carefully to the Benny Goodman recording, and he does not do so - a great player with a beautiful sound, but I'm surprised at how much slurring he does in this spot...and the piece was written for him!
