What music are you practicing right now?

Head of Clarinet
Heather
3 mths ago
11replies

Here at tonebase, we share knowledge not just about clarinet fundamentals, but also about the inner workings of the repertoire that means the most to you. What are the songs, pieces, sonatas, riffs, tunes, cadenzas, or solos that you’re working on right now? Is there anything you recently finished or mastered that you’d like to share? What are some challenges in what you’re working on? Would you care to share any video or audio of a certain tricky spot to get some advice from the community? I’m excited to see what you are all practicing 💪🏻

- Adam_Cohen
- 3 mths ago
- Reported - view
We are currently performing the Brahms op 114 trio and our arrangement for cell of the Kegelstatt trio. Trickiest bit in Brahms for us is the beginning of the fourth movement switching from the cello solo to the clarinet entry in staying in tempo and make it sound logical. Any suggestions?
- Head of Clarinet
  
  Heather
  
  3 mths ago
  
  Reported - view
  Hi Adam - you mean going between the 16ths and back into the triplets?
  
  I might in this case try something like adding some extra triplets when you're rehearsing - only when rehearsing of course but it might help with just getting the feel (Brahms is always doing something like this and it really does take some practice). I'll post an annotated photo so you can see what I mean ...
- Adam_Cohen
  
  3 mths ago
  
  Reported - view
  That's a very good idea! Even not playing them but imagining them! We will try tomorrow morning immediately
- Adam_Cohen
  
  3 mths ago
  
  Reported - view
  Yes that clinched it entirely! Just thinking the triplets. Thanks!
- Valina_Eckley
- 3 mths ago
- Reported - view
Ok, not perfect by far but this is the beginning of me playing something probably a little to difficult for me (Weber's Concerto in F minor movement 3, the Rondo) It's a work in progress for the past few months and I haven't spent everyday on it until I joined Tonebase :) So it can only get better from here on out. I of course am NOT used to recording myself play, so time to get out of my shell and just do it.
- Valina_Eckley
  
  3 mths ago
  
  Reported - view
  I also figure this topic is a ploy for us to begin using the practice diary of the forum. I'll probably just start posting there. We should just create new topics of whatever tunes we happen to be working on, correct?
- Head of Clarinet
  
  Heather
  
  3 mths ago
  
  Reported - view
  ha, Valina, I promise I'm not trying to manipulate you, but yes, feel free to start using the practice diary! I've been meaning to upload something myself there to get us started but you have a history of leading the way so go for it.
  
  (Also I don't think there's anything wrong with learning music that's "too hard for you" - you'll go away from it and then come back to it and go away and come back and it'll change and evolve and that's quite a beautiful process!)
- Nancy_Skolos
- 3 mths ago
- Reported - view
Funny how things come along like lefthand exercises just when you need them.

Our orchestra is working on Sibelius 2. Here's a page from my second clarinet part.

IMG_1407
- Head of Clarinet
  
  Heather
  
  3 mths ago
  
  Reported - view
  Oh yes - that material does look quite familiar to recent discussions on the live stream, doesn't it?
- Laurie_Searle
- 3 mths ago
- Reported - view
I have three things to share. . .
==

(1) My husband and I worked on “Canzonetta Op. 19,” by Gabriel Pierne for several months, and then performed it in a recital with our Piano Buddies group last week. We are both returning musicians after a 30+ year hiatus (he restarted in 2009, I restarted in 2014). Our challenge is finding interesting music to play together where the piano part is not 5 times more difficult than the clarinet part, or the clarinet part is nothing by long tones.

Here is our performance of Canzonetta op 19 - Gabriel Pierne
https://www.youtube.com/watch?v=3wgC0obMQU8&list=PLFqE-iKuazj5mlLkm1_Kl_rOPRUHnRT46&index=13

==

(2) I’ve set a goal to perform in a solo recital in honor of my 70th birthday next year. I’m calling it “Laurie’s Senor Recital (lol). I’ve always wanted to try an unaccompanied piece, but my taste is towards the lyrical and most I’ve heard are a little “out there.” Then I heard “Capriccio,” by H. Sutermeister and decided to add it to my program. Honestly, if there weren’t really good recordings of this piece, I would not have an idea how to approach it. But thanks to YouTube, I can hear very musical performances and how each section is phrased.
Here's a nice YouTube version I'm studying:
https://www.youtube.com/watch?v=m1mpA0L_ZNE

==

(3) My chamber group is working on “Divertimento for Piano & Winds, Op. 51,” by Paul Juon. I could use some help with the Fantasia movement, beginning at rehearsal 3 below. The meter is 9/8, our rehearsal tempo is 120 per 8th note.
I’m studying this YouTube recording: Fantasia: https://www.youtube.com/watch?v=tnm1BSfq2_E (the difficult section is at minute 1:32)

A brief description for others on this forum. . . The Fantasia,” opens with a with a lovely 15-bar clarinet solo, which in 12/8 at 120 tempo is quite slow and broad. (No problem here.) The French horn continues that “lovely vibe” at rehearsal number 2 for 4 measures. Then the clarinet enters again and begins a sort of “stream of consciousness” that builds to rehearsal number 3, where it intensifies with the horn and piano and turns into a sort of “hot mess.”

HELP!!!

Juan
- Head of Clarinet
  
  Heather
  
  3 mths ago
  
  Reported - view
  Hi Laurie, your Canzonetta is sounding fabulous! (I love that you have a duo with your husband, I'm currently trying to convince my guitarist partner to buy a banjo so that we can do some old jazz tunes)
  
  For your question about the Paul Juon piece - I haven't done this, but I think if you're having trouble getting it to fit together rhythmically (which is how I interpret "hot mess") I would start adding 16th notes in your practice (or even in rehearsal), so for example the first F# on that page you would play three times with your tongue as though there are actually 6 notes in that beat - does that make sense? and then I might do two eighths on the B and then start again in 16ths for the third beat - it's just easier to see how it fits together if you play "everything" - I hope that makes sense, if not I'll try to annotate the score so you can see what I mean!