Clarinet Tips

I was asked if I could write something for clarinets - Here it is!

It is not easy to become a great clarinet player. It takes a lot of hard work, dedication, and tons of practice. Some of the key things to work on are your breathing, dexterity, sound quality and rhythm. The following tips will help you improve your skills:

1. Breathing Exercises
It is always best to begin by doing some breathing exercises. Breathe in and out slowly, and see how long you can breathe out. Form your embouchure as you breathe in and out to simulate playing the clarinet. Always breathe in through your nose and out through your mouth. Your tummy should rise as you breathe in, to allow more space for your lungs to expand, therefore holding more air and allowing you to breathe out longer. Beginners usually take a breath after every four measures in a musical piece, advanced players can usually wait longer. If your shoulders rise when you breathe in then you are not blowing from your diaphragm.
2. Holding Your Clarinet Correctly
Curve your hands slightly and place the soft pads of your fingers over the holes. Keep your left thumb close to the register key as it covers the hole underneath it completely. Most of the weight of your clarinet should be supported by your right thumb. It is important that your right thumb supports most of the weight otherwise you will not be able to place the pads of your fingers into the holes correctly. Keep your body relaxed, don't tighten up your shoulders, and keep your elbows to the sides.
3. Your Embouchure
Fold your bottom lip over your bottom teeth, with the reed downwards inside your mouth. Gently place your top teeth on the top of your mouthpiece. Keep your lips firmly around the mouthpiece. Do not bite on the mouthpiece. Keep the corners of your mouth tight. Practice this until you can obtain a steady sound. Try to find a comfortable position as you play. Try out different lip pressures, teeth positions until you obtain a clear steady tone. Always moisten the reed before you begin to play.
4. Troubleshooting
a) If you are having problems with your sound, check to make sure your reed is not damaged. If so, replace it.
b) If you are having trouble placing your fingers on the clarinet, make sure all the parts of your clarinet are positioned correctly.
c) If the sound is muffled or air doesn't seem to flow through your clarinet, make sure there is nothing trapped inside your clarinet such as your cleaning rod.
d) If it becomes difficult to assemble your clarinet, then apply some cork and neck grease to the clarinet.
5. Take Care Of Your Clarinet
Clean your clarinet after each use, inside and out. Beginners may have to clean the inside of their clarinet several times during a practice session. Check to make sure all the keys are functioning properly and that none are loose. keep the screws on the keys tight, but not so tight that they won't work. When assembling your mouthpiece, avoid touching the tip of the reed as it is very delicate.
6. Miscellaneous Tips
Keep working on your skills even if it seems difficult. You will eventually notice a difference even if you sound like a bus at first.
Listen to recordings of clarinet music to give you inspiration and an idea of what it should sound like.
Work on difficult passages until you can play them with ease. If you become too frustrated, take a break and play something easier. Remember to always go back to the difficult passages.
Practice every day if possible. The longer you leave between playing the less muscle memory will be attained.
Record yourself playing your clarinet and play it back to check your sound quality, and your rhythm.
Have a fellow clarinet player practice with you. This way you can offer encouragement to and receive feedback from him/her.
If you can afford to, take some private lessons. It often helps to have some guidance, feedback and encouragement from an experienced teacher.
The above will help in giving you years of musical fun and trauma! That is "As I See it!"

Concert Preparation

1. Prepare in Advance
Rehearsals are not the time to learn notes, but rather to put the ensemble together and work on musical matters such as balance, interpretation, style, phrasing, choice of instruments, and mallet selection. Parts should be well prepared in advance.

2. Be Flexible
Public performance forces you to keep going, to not stop for corrections, and not slow down when the part is difficult. It is very different than practicing in a room by yourself. This is the place to test nerves, concentration, organizational abilities, the capacity to rebound and continue playing after a crisis, and the ability to react to the conductor.
Unpredictable things happen at live performances--even to people with many years of experience. (I can attest to that!) Sometimes conductors make mistakes; people come in wrong or not at all (and that was your cue); soloists run out of breath or hold a note longer than at the rehearsal; someone jumps a beat; the balance may be different with an audience in the hall; someone drops a stick. Be flexible and adapt to changes around you.

3. Before the Performance
Eat something--not candy, but real food, preferably some protein; if there is only time for a snack, has some nuts or a banana.

· Prepare your music in the programme order.
· See that you have enough room to play comfortably.
· Position the music stand to be in a direct line with the conductor.
· Warm up carefully.

4. During the Performance

· Do not dwell on mistakes or misjudgments; keep your concentration intact.
· Do not focus on the negative things that happen.
· Do not allow yourself to be distracted.
· Maintain concentration when your part becomes easy after a busy passage, and especially when you are counting rests.

“Experience is the name everyone gives to their mistakes” – Oscar Wilde

5. After the Performance

Savour the things that went well during the concert and do not dwell on the mistakes. Enjoy the pleasure of the experience, but remember to address the mistakes and not let them happen again.

Evaluate your playing in order to solve any problems that surfaced. Be critical but not self-deprecating with phrases like, "I’m no good" or "I’ll never learn," etc. A blanket condemnation is pointless, self-indulgent and destructive. Pick out specific things that have to be worked on and use the experience to learn.

Solve the problems one at a time. Some may be corrected easily. Perhaps the page turns were difficult; photocopied sheets were not taped together and a page fell off of the music stand; the player in front blocked the view of the conductor, etc.

Finally, you never really "know" how to play a piece; each performance is a new experience. The creative person continues to change. With students, the changes are fast and furious and often cataclysmic. As one matures, the changes are not as radical and frequent, but do continue. True creativity is a continuing and developmental process.
You will never reach a state of "perfection." Occasionally you might be pleased with your performance, but the next concert is always a new challenge and something to look forward to.


IMPROVEMENT IDEAS
Practice in a room with full length mirrors. See which movements look good, and which come across as awkward. Practice facing the mirror, as you would do the audience in a live performance.
Channel all your nervousness into your diaphragm. Relax your neck, and your shoulders, and breathe slowly and deeply using your diaphragm to empower your performance. Put any tension you have there! When you breathe in, your stomach should push out. As you breathe out, your stomach should shrink. (Tip - your shoulders should not be moving when you breathe)

In the end, good stage presence is simple - don't be BORING. You're free to do whatever you like as long as it is visually interesting. All you have to do is spend a little time working on it, and you'll improve the quality of your live shows by leaps and bounds. That is "As I See it!"

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Nerves

Just back from West Virginia where the Burlington Teen Tour Band had 5 performances in three days (three of which were competition). They came home with six 1st place awards and two 2nd place - CONGRATULATIONS! Nerves play a part of intense performance and in this section I discuss certain rehearsal practises that will help the nerve factor and help make for an enjoyable and successful performance.

Everyone gets nervous and it is only natural. What we want is for the body to manufacture adrenaline that will help us put on an exciting and enjoyable performance for the audience as well as you. Unfortunately the body sometimes over-reacts and we start to feel the beginnings of anxiety and other nervous symptoms. I remember my first solo performance as a young musician, waiting to go on, sweating, dry mouth, a complete bag of nerves. First off, performances are just like practices. The more you do it; the better and more relaxed you become. If you can have decent success at one performance, it becomes easier the next time. But whether it is your first time or your fiftieth time, there are a few things that you can try to help control anxiety.

Try to practice on the stage or in the room where you will be performing.
Envision it full of people just like it would be on performance day, or better yet, hold a dress rehearsal and invite some of your friends for a preview. Most people in the music world that I have become acquainted with are very supportive of each other. So tell yourself before a performance, “They are here to support me. No one is against me. They want me to perform well.”

As far as the day of the performance is concerned, try eating a banana. In addition to potassium (which is the reason ballet dancers eat bananas) studies have shown that they also have a chemical similar to serotonin, a neurotransmitter that may help regulate anxiety and depression. A word of warning - stay clear of the caffeine! The last thing you want to do is make your heart race more with stimulants! In addition, eat light meals on performance day. Eat things that hopefully will not upset your stomach. Remember: When you think about the performance, see yourself performing well. Be positive about what will happen.

Personally, I do not arrive to the performance hall too early to warm-up. Waiting around backstage with nothing to do can help lead to extra anxiety. I do enjoy getting there early and mixing with and meeting some of the audience before the performance starts. This way I start to get a feel and sense of the audience, where they are from, who they are and begin to associate with them. After that I like a few moments (about 20 minutes) before going on stage to be totally alone and prepare myself like an Olympic athlete for the greatest performance I have ever given. Before I go onstage, I take a few long deep breaths. This will hopefully slow my heart rate slightly.

Hopefully these things might offer a little assistance with your performance anxiety. Figure out what works best for you. There is no cure-all for this anxiety that we feel. Remember, it is normal to be nervous; that shows you care. But it is how you let it affect you that makes the big difference. And that, is "As I See it."

Next article will be about "Concert / Performance Preparation"
Without music life would be a mistake. ~Friedrich Wilhelm Nietzsche

Auditions

“A performance that demonstrates every virtuoso skill at your command without pay.”

Auditions can be a frightening time for young musicians, especially your first! Like everything else in performance, the more you do the easier it will become. The more information you have regarding the audition the easier it will be. Call the University and ask them what is to be expected at the audition. They will give you a complete schedule on how the audition will be run and what you will be expected to play.
Audition checklist
· Choose material that displays your skills, range and versatility.
· Master your material—your preparation will enhance your confidence.
· Talk to and watch other performers/musicians. Learn from their experiences.
· Don’t be afraid to call the university/company in advance to find out what the audition will be like.
· Consider an audition as a performance—auditions require as much preparation and energy as the real thing.
· Develop techniques to handle audition "nerves"—many performers/musicians use relaxation and warm-up exercises.
· Ignore mistakes—if you make an error, just continue and don’t get flustered.
· Be yourself—people who give auditions want to find out who you are beyond your performance piece.
· Develop resiliency—if you did your best, but didn’t get the position, add the audition to your list of learning experiences.
· Be persistent—go to as many auditions as you can to build your performance skills.

Having gained the musical knowledge and prepared the content for your audition is there anything else I can do? What about the other aspects of human interaction and job hunting?
Are you prepared? Being a fully employed musician is more than just the ability to play well. Your creativity and attention to detail must include communication and people skills.
First impressions do count!
There is no such thing as a second impression and human nature is such that when you walk into the room for your audition an opinion is already being formed. You can’t afford not to project the right message. Projecting a strong image is no longer an option in business and is no longer seen as superficial. Your personal presentation is an integral part of the total package you will provide. Differentiating yourself from your competitors with your presence is the challenge and in a business where there are many musicians at the same virtuoso level as yourself it is essential as you perform for auditions. Ninety percent of all people will form an opinion of you within the first 10 – 40 seconds of meeting you – before you even play a note.
So, how do we ensure that we get the best, favourable hearing that we can?
1. Dress for the occasion.
Do not over-dress (white tie and tails – unless you have just come from a performance with the Berlin Philharmonic or the London Symphony) and do not under-dress (arrive in torn jeans and grubby tee shirt which still has the fish & chips from your lunch on it).
Think customer first. Match their style of dress when you meet with them, when appropriate show respect and look like you fit into their world.
Dress smartly yet comfortable as befitting a professional. Whether you are wearing a more formal business suit or a relaxed casual outfit, maintain an image of professionalism.
Always be neat, tidy and appropriate.
2. Become aware of your nervous gestures and eliminate them
Avoid rapid, jerky movements because you will appear nervous and edgy.
Make sure that your words and actions are saying the same thing.
Practice in front of a mirror on how you hold your instrument when not playing and talking to the audience or people holding an audition.
Do not assume and speedily rush into answers. Think of the question before you make a response. 3. Arrive early for your audition.
Anything could happen on our way to the audition site, traffic hold-up, accident, bad weather causing slow driving etc… Arrive early so that you can become familiar with where you are to go and become comfortable in the surroundings you will be performing. Some people on front of you may not show up and you could find yourself rushed. This is definitely not something you want to happen. If you have an accompanist then ensure that they too are there in good time. Remember that it is you who are auditioning and not the accompanist.

The preparation having all been done what can you do on the day itself?
· Walk straight and confidently onto the stage. Announce yourself clearly and concisely, omitting ‘ummm’ and ‘ahhhh’. Practice how you stand in front of a mirror.
· Strong start and strong finish. The way you begin leaves a strong impression so start strong, do not hesitate when beginning and remember to blow through and lift the last note.
· If you make a mistake do not stop. Do not mutter, sigh or make comments.
· When you have finished stand comfortable and confident. Make eye contact with the judges. This sends a good message and will help boost your own confidence. And that is "As I See it!"

Coming next: NERVES - How to perform with them!

If you have an area of flute or general performance you would like to read about - leave a comment.

SIGHTREADING

The pause is as important as the note. ~Truman Fisher

One of the many asked questions I hear is, “How do I improve my sight-reading?”
Sight-reading is an essential element of musical life. It is also an acquired skill that you can develop and do very well. Learning to play your scales by memory can be half the battle. Major scales, minor scales (natural, harmonic and melodic forms) chromatic scales. You can sightread better if you know your scales and arpeggios.

Scales in thirds and arpeggios all make up much of the music you will see, so if you know them in advance you will be better equipped to handle any sight-reading that comes your way. It is also important to know the definitions of musical terms, as they are also big clues to interpretation, speed and phrasing. Knowing whom the composer is and what time period the music was written can be another important clue to interpretation. This is important because when a piece of music was written and by whom can affect how you perform grace notes, mordents and grupettos as well as other ornamentation.

I was very fortunate in that when I was principal flute with the Royal Marines I was faced with sight-reading every day. In fact it was an important part of our musical training, equal in time and more to viva voce, theory and harmony. Sight-reading, not just in Orchestra, but also in Concert Band as well as in various styles – from Symphonic masterpieces to Broadway shows, Duets and Ensembles. The more you do it, the better it becomes and the easier you will find it. Eventually sight-reading becomes a lot of fun and you will find yourself looking for new and more demanding pieces to test your newly acquired knowledge and confidence.

When sight-reading you should look for certain things before playing. All the information you need is right there on the music in front of you.

· Key signature
· Time signature
· Tempo
· Style
· Overall structure
a. Sections with repeats or endings
b. D.S or D.C.
c. Changes in key & tempo
d. Temporary tempo changes such as rallentando, a tempo

· Stylistic markings
a. Accents, staccato, legato etc…
b. Articulation patterns (slur 2 tongue 2)
c. Dynamics
d. Ornamentation

· Rhythmic patterns
· Scale patterns
· Accidentals

It is also very important to train your eyes to read ahead of what you are playing in order to give yourself time to mentally process the visual and react to it physically. And that is "As I See It!"

“Never edit by ability” - Geoffrey Gilbert