The Rose Etudes are basically the meat and
potatoes of kind of
the clarinestos that we do,
mostly in high school and
college these days.
You basically can not get away from
the Etudes, which is a good thing,
because they have a lot of
beautiful things to work on.
Frankly to me, they are not my favorite,
I must tell you.
But there are some of them that
I find that are really great,
and one of them is Etude number 11.
And I like to think of this Etude
in a romantic style, I try to think
of it more or less trying to give
it a treatment as a concerto, okay.
So whenever I like to play this one, I
try to envision this is the slow movement
to the lost concerto, the third
concerto by Weber, which is lost, okay.
And therefore, having that in mind,
then it helped me to envision
a contabulous sound.
A singing operatic style and
therefore it helps me to deal with
the fingers, but also and
with the air and with the color.
But then all that stuff becomes secondary,
because I am trying to sing
through an instrument.
Now one of the things to definitely
be careful about is the tuning
is very tricky,
because we play these exercises and
these Etudes mostly by ourselves, and
because we are playing by ourselves we
tend to be a little bit consumed
with everything that's in the page.
And we actually forget to pay attention
to what's actually coming out.
So we have to be paying a great deal
of attention to what's coming out.
And we have to get from the very beginning
used to hearing where those notes lie.
In particular the notes that tend
to be really not our friends
are the D which tend to be
a little bit on the high side.
So you want to make sure that once your
instrument is warmed up that we can
get that octave D to be working very well.
So that we can play in
the soft register softly,
I mean in the soft dynamic and
not ride high.
so that then,
we give it a little push so
we can get the sforzando but not [SOUND].
So what we'll try to do is
that we'll try to get the,
the octave D not to be too narrow and
that the D,
the middle D can have a good sound.
But in tune,
not a ringing sound that we like, but
that ringing is because we're sharp okay.
You see, I try to get
a little bit of a zinger on the high
D without a hard articulation.
Because it's a bright note, but
we want it to be bright because it's
the top of the phrase it has
a crescendo and it's forsando.
So we need to
right, sung out.
so we have to be very nice with
articulation it has to be smooth.
Now for the high lifts to the Fs.
I like to use a half hole regular F,
with the half holing and
then helping it with a slither.
Okay so we can go.
And then, it will come out.
The regular fingering
is not that great and
the long fingering, usually,
it sounds very thin and sharp.
So, when you're testing it,
check with our beloved lie detector,
the tuner, and to make sure that
we're not getting overly excited and
getting too sharp on those notes.
If you'd like to submit this Rose Etude,
here's what I'm looking for,
a dramatic sound, remember, thinking
there's the missing slow movement to
the labor concerto, sing from the heart.
And watch intonation.
[LAUGH] Before you submit your video, be
sure to watch the other video exchanges on
these Etudes and
see what I have told the other students.
Once you have done that submit your video.
I'll take a look and
give you some feedback.