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Clarinet Lessons: Beethoven - Symphony #4

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On Beethoven's Symphony number 4,
we usually, in the slow movement,
we talk about the big solo,
which is a letter F.
The most important thing to always be
thinking about is the quality of sound.
It has to be focused, yet
not tight one, but no spread.
It has to have a singing quality so
that then we can make sure that we can
blend the notes, from note to note.
And we have to try to be as
rhythmically as tight as possible and
so that way we don't run out of air,
and for
the shape of the solo to
sound like you're floating.
Now in the solo Beethoven puts 84 for
the eighth note,
which actually sounds like this [SOUND],
which is actually one of
those symbol's that is
rather fast for
what it's traditionally used.
That would make the solo and
the piece bump,
ba bump, ba bump ta tum, ra, re, ra, ra.
It would be nice because actually
it's much better for the air,
etc, but it is not.
So, what do we do with
information like this?
We can listen to a bunch of recordings,
and try to make it batting average,
which is basically what we all do.
But given the tempo that he puts, I think
that this is one of the opportunities for
us to be musically astute, meaning that
even if we are going to play it slower,
it has to have the spirit of
the tempo that he puts in there.
So going back to that 84.
[SOUND] See, if we know that he's going.
So it's fast.
And we are not going to go there.
We, I would say we can go to somewhere
around 10 notches lower, 70.
[SOUND] Yeah this would be around 74.
So it sounds like this.
So this is the tempo that, traditionally,
is played somewhere around there,
but usually,
maybe a little faster,
maybe a little slower.
But, what is important to
always try to keep in mind is
the spirit of what
the composer is writing.
So, since this is actually much
faster when we play it faster for
that F note, what it will do is to free
us to have a fluidity to the sound.
It wouldn't be,
even though we're still going slower,
we're not going one, two, two, two,
three, two, like a Frankenstein.
[SOUND] We try to keep,
even though it's slower,
we're going to try to keep one,
two, three and, so the and
is lighter and therefore it
allows us to have fluidity okay?
Now what the others
need to be watching for
is the intonation on the long a crescendo.
The climax tends to get a little
bit flat when we do crescendos and
the tone gets spread.
So I would recommend to play
the A with the sliver, this sliver key.
That way, we can play relaxed
when we get do, so, la.
Yes, that'll be a little high, but
then, as we increase the sound,
we are actually in a position where
the tone will maintain its center, and
it will not get low.
And therefore you'll sound like you
have much better control of your
intonation and the tone.
If you'd like to submit this Beethoven
excerpt, here's what I'm looking for.
Watch the quality of your
articulation in the fast notes,
make sure that I can here the grace note,
and make sure that it's actually smooth.
Remember that it's a forte,
despite the dolce marking.
Before you submit your video, be sure to
watch the other video exchanges on this
excerpt, 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.