This is a public version of the members-only Clarinet with Ricardo Morales, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Clarinet with Ricardo Morales.
Join Now

Fundamentals
 ≡ 
Etudes
 ≡ 
Orchestral Repertoire
 ≡ 
Solo Repertoire
 ≡ 
30 Day Challenge
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Clarinet Lessons: Bartok - Concerto for Orchestra, 4th Movement

Video Exchanges () submit video Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
information below
Lesson Specific Downloads
Play Along Tracks
Close
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Clarinet

This video lesson is available only to members of
Clarinet with Ricardo Morales.

Join Now

information below Close
Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Clarinet with Ricardo Morales. This is only a preview of what you get when you take Clarinet Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
Log In
X
[MUSIC].
In the fourth movement,
this solo starts by Bartok sort of quoting
Shostakovich's Leningrad Symphony,
which was very severe talking
about the Russian Army.
The first movement is a very gigantic
movement that's very somber.
And here he uses the same little tune.
But just to make it, to make light of it.
Okay?
And it finishes with a flourish
of quintuplet staccato notes.
[SOUND] Where it's supposed
to be like people laughing.
[LAUGH] So, I mean it's much
easier said than done, but
that is what we're trying to achieve.
Now, so we start again trying to
exaggerate the characteristic marks.
At the beginning, we have two quarter
notes tied, ta-da, ba-da, ta-da,
and then the last one has the staccato,
so we have to bring those things forward.
And specially in an audition,
you have to always accelerate the things.
You have to make sure that the people
who are listening to you understand.
You let them know that you understand
the difference between just lifts and
staccatos, and
you know how the music goes.
Therefore, we have to show them
the lift on the second note.
The second quarter note has to be smooth,
and
then we have to clip the one
with the staccato much more.
Thus, like this.
[MUSIC].
Okay?
And then we have the next beat,
we'll have a little accent.
And believe me, we're always nervous.
It's much better to
exaggerate it instead of
[MUSIC].
[MUSIC].
Okay, so if you notice that I went.
[MUSIC]
Short, longer.
[MUSIC]
And then we go to the note, and for
the next one that has the staccato.
[MUSIC]
Okay?
Now the other trick to check is that the
run going to the F, the full triplet run,
it's tricky, because we have the throat
notes that are actually much softer,
and we are trying to get
all the way to the bottom.
So when you practice it,
try too accelerate doing
a crescendo in the middle notes.
In the third B flat and A's.
So that we practice it like this.
Making a crescendo in the middle and
then a final crescendo at the end.
So it goes like this.
Slowly.
[MUSIC]
Again.
[MUSIC].
So that when it goes fast,
it sounds really smooth but
you can hear all the notes.
[MUSIC].
And then it sounds smooth.
Now, for the quintuplets I
would say prepare by actually
practicing the rhythm all slurred.
[MUSIC].
So then you can go 2, 1, 2, 1, 2, 1, but
you know exactly where [mmm] So
that you know there's landing of the C,
the G, the D, and
the A with their fingers.
So then, you know.
[MUSIC].
So then go.
[MUSIC].
And then we practice the staccato
little by little just like we have from
the lesson on how to acquire fast
articulation in the lessons.
And then we try to apply it here with
a lot more air, like we had talked about.
It's fortissimo so don't be afraid.
You have to do it like a shrill laugh,
but the important thing is to try to get
a little bit more of that
diminuendo after we go down.
With the diminuendo,
one little trick is it will happen anyway
because we're going from one of our
brightest notes to the throat notes.
So you don't have to work overly hard.
Basically the register change
will do the diminuendo for you.
Therefore, if I don't do anything
that sounds like a diminuendo.
[MUSIC].
Okay, so
when we're doing the articulation.
[MUSIC].
And then a finish of.
[MUSIC].
And then the trill, and to get that lined
up, it's usually better to do the trill
and then separation so then everybody can
start together in the woodwinds, okay.
So one, two, one
[MUSIC]
so then everyone can start together.
[MUSIC]