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Clarinet Lessons: Bartok - Concerto for Orchestra, 2nd Movement

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[MUSIC]
So on Concerto for Orchestra,
the second movement is
called Game In Pairs,
[FOREIGN], which is Games in Pairs.
And as a game, also the scherzo,
so we have to actually have
a light articulation and
to sort of have a humor about the thing.
So the thing we have to really show when
we play this is a great deal of levity.
And how do we translate
levity to the playing?
It's by exaggerating every single
characteristic that we have here.
For example, the beginning there's no
articulation mark for the first notes,
which means we have to play them more
on the smoother, long articulation.
And then two measures later, then,
is when we have staccato, so
that then we can bring that contrast.
Now, to go from the A to the D to make
it with the smooth articulation from
the A to the D, it's usually
best to try to half hole the D.
If you can see, I play the D and
I roll the first finger over here, so
that then this transition
will be smoother.
And we saw the A flat key, E flat key,
because when we articulate the D,
it tends to, we tend to get a little bit
more intense with the embouchure and
it will be high enough in the pitch.
But you don't want the vent so
that then it will make it stick out.
Okay?
Now, then in the phrasing,
[MUSIC]
it's very important that,
since you have the staccato at the end,
and we are in the game,
we have to exaggerate the going
toward that staccato note.
[MUSIC]
Practicing it like that, so
that then, when it goes fast, it sounds.
[MUSIC]
But to get it going,
we have to
[MUSIC].
Believe me, a lot of the things that
we have to do clarinet performance is,
we have to, when we practice, we have
to really exaggerate all the gestures.
So that then as we get faster and
we have to smooth them out,
then you can still hear them,
but in a more refined way.
So, one of the things to be
thinking about is for the A to D.
[MUSIC]
And then we smoothly
go from A to D with the half hole.
[MUSIC]
You see I'm exaggerating the crescendo?
So,
[MUSIC]
and there we go.
Now, in the tempo,
I actually add the F and A flat keys,
to make sure that the notes I am
articulating and doing the crescendo.
They get brighter.
So that way we get more of the inflection,
not only in dynamic, but in color.
So that they
[MUSIC].
So we get more energy, okay.
And that way we can have smoothness,
and then tossing notes, staccatos,
and then we finish with a very smooth
[MUSIC].
It's important to bring all the things.
It happens in a very quick succession.
Soft articulations, smooth legatos,
spicy articulations, short, accelerating
the dynamics and then finishing
with a very smooth finger legato.
Thus, it goes more or less like this.
[MUSIC]
So
you see,
I'm trying
to smooth out
the fingers.
So I have to exaggerate it when we go
slowly, so that when we're going for
crisp, it doesn't get too hard.
[MUSIC]
We want to avoid that, so.
[MUSIC]
Very
smooth.
[MUSIC]
[MUSIC]
If you'd like to submit this Bartok
excerpt, this is what I'm looking for.
Light articulation in the upper registers,
smooth transition between registers, and
fast articulations.
Pay attention to the harder articulation,
pitch tone, and the upper register.
Before you submit your video,
be sure to watch the other video
exchanges from this excerpt and
see what I've told the other students.
When you have done that,
submit your video, I'll take a look, and
give you some feedback.
[MUSIC]