Brahms Symphony #4,
Now this is a solo that doesn't get
to auditions that often anymore,
but it used to be.
And it's starting to get a rise because,
thank goodness, that 4th symphony of
Brahms, which is absolutely magnificent
Is gaining in popularity and
therefore this solo is very important.
Now two things that are really tricky
about this is that harmonically
speaking the solo you're playing
in thirds are the actual tunes.
So it's not [SOUND] you're playing.
That's a key of concert E major.
Were playing and they were playing in,
which is G major for us.
But then were playing sort
of hovering in thirds.
Therefore, it's one of the things
where you have to deal with what I had
talked about in the intonation
lesson about suggesting intonation,
meaning in this one you have to make
sure that with our lie detector,
we are actually in good shape and
that we are on the right sharp.
In this piece it's very
important to do that.
Now it's tricky because in many
instruments the long B tends to be
a note that is always a little too sharp,
because the bell tends to be a little bit
short, so then the low E is not so flat.
we have to be able to play relaxed and
then to try to match the throat tones
to this long B which is always there.
So for this,
what we have to do is listen carefully.
One of the things that we
really have to work on and
that I would like to instill in you, and
even myself, throughout this lessons is to
be thinking about how to think calmly
about how to get around the clarinet.
In something like this,
we have to be thinking about the music.
And visualize In your mind,
in your mind and in your ear,
how those notes are going to sound.
And what the relationship between all of
them, especially starting from the B.
We have to find fingerings that will
match, therefore the throat A, you know
there's resonating fingerings that we
like to use that are like two, three,
three, four, two, three, two, three on the
C key which is nice and clear, like this.
It's very clear and it's very nice,
but perhaps it doesn't match so
much your long B.
So we have to find a fingering that is
as close to the resonance that we need.
For the music, but that matches the color.
Therefore the way to do it is, start
with your B and let's try to experiment.
And we have to find.
There is a couple of books that are
magnificent for this kind of stuff, for
fingerings and one of them is
Tom Ridenour's Clarinet Fingerings.
You can check it out in our links,
I'll have a list.
Both are important for us to have so
that we can learn about different
fingers in the upper register and
throat tones, etc.
Now, so, to get this,
what we do is we get the B and
then we go from the B and
try to find the colors that match.
That ones not bad.
It's clearer so we have to be careful.
That one is clearer still but is smooth.
It's a variation of the two,three,two,
three and C key.
Instead of two,three,two, three,
I went two, three, three on the C key.
Then we can find something that will help
us to smooth out from
the throat A to the B again.
>> If you were paying attention,
you'll see that I changed the fingering.
I'm just checking out to see if you're
actually looking at what I'm doing.
The other one that I like is three,
two, three and the C key.
So I'm going from
that one in my clarinet matches the best.
So therefore the reason why I'm not
preaching about that is because you change
the clarinet, you change your mouthpiece,
the reed's a little lighter or too stuffy
or whatever, and we always have to have
a little bit flexibility for those things.
But what comes about is sort of
like the chicken and the egg.
What comes first the fingering or
Always the music.
>> And then we try to figure out which
fingering works the best to accomplish
what we need to do.
So that is the most important thing.
Just keep relaxed.
Don't play the B.
Don't play it sharp.
Try to make sure that we pull
out in the middle joint.
And just pull out a little bit
more then you think on the bell so
that then it will help us to keep down.
And the same thing that we
have been talking about colors
before the F sharp which we have so
many of them.
With the A flat E flat key so
then we have a nice focus note.
it has spark,
it's not sharp.
Pay attention to the core of
the throat tones, that they must match.
And make sure that when
we play rhythmically,
it still has to be smooth,
and with a singing quality.
Before you submit your video, be sure to
watch the other video exchanges on this
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.