Rhapsody in Blue is one of those iconic
American pieces which
we actually have to get
a great deal of flair and
Now the super important thing that we
know about is how to get that glissando.
The glissando seems to be
the trickiest part of this solo.
But there are other elements
that we'll have to discuss,
like the kind of vibrato and rubatos,
which will all have to be controlled.
Now, the first thing is that
we have to practice glissando.
How do we practice glissando?
Well, we would practice it sort of
the same way that we were dealing with
how to find the high tongue position,
which is in the fundamentals lesson.
So the best way of practicing
this is to practice it backwards.
And what I mean by that, is practicing it
from the top going down instead of from
the bottom coming up, just to get used
to the feel of the tongue position.
So, while we will practice
this playing the high C, and
then relaxing the embouchure and
the tongue position down until we get
as low as possible, and
then we bring it back up.
Sort of like what we were doing in
our tutorial to find the actual good,
high tongue position end point.
So we practice it like this.
Until we get to
practice it lower and
lower and lower until
we lose the note.
We have to find where that precipice is.
Now, how we will help to get
lower is by trying to elongate,
little by little, the tube,
the clarinet tube.
So, therefore we try to work out
getting the fingers a little bit lower.
Sort of in the same octopus feeling
that we were talking about before
in the lessons.
So when we talk about
bringing down some of those
fingers down to try to make the thumb
holes a little closer, closed up.
we start closing the tongue holes,
that's the third part.
[SOUND] See, I'm going
with the scale, do,
la do, so, do, fa,
do, mi, do, re, so
one note at a time, right?
remind you that
the work for
this is 99 percent
the throat tone,
the throat work and
the tongue position.
Not so much the fingers,
we always look at the fingers and
think that is really where the magic is.
It's actually in the throat over here.
So that then, you can see,
you can actually not move your fingers
that much and still get a glissando.
[SOUND] So, I'm
not moving it, so
that way we get it.
The third part is, try to get the trill.
One of the things that we make a mistake
in, is when we start the trill,
we have the heightened position
that we use for classical clarinet.
And that is actually a little bit more
difficult, because then we have to start
changing it, by the time that we're
getting the little chromatic scale going,
and that is usually not enough time,
especially if we are nervous.
So what I would suggest is, just start
something jazzy from the beginning.
So that means, that you keep the tongue
position a little bit lower and
So instead of doing this,
we start with the loose
embouchure from the bottom.
And there we have it.
Now, the most important
thing to try to do with this is like,
have fun, come on,
have fun with it.
So, let's go.
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