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Clarinet Lessons: Rimsky-Korsakov - Cappricio Espagnol, 3rd Movement

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[MUSIC]
Okay, so for this third movement,
there are two little
things that are important.
How to make sure that
the triplet comes out clear, and
the sextuplets come in a way
that you can hear all the notes.
So one little trick that
I like to suggest is,
at the beginning, when we are doing
the triplet, so,do,mi,so,do,do,so
[MUSIC]
I will say,
think of a little accent on that triplet.
So I think
[MUSIC]
It will help you to anchor your notes,
it'll make it clear, and
when you're going fast, believe me,
it won't sound like you're going [SOUND]
Because you cannot do it like that,
but when you practice it that way
it will help you keep a clarity.
[SOUND] So instead of going, let me try.
If I do it without the accent,
slowly it will sound.
[MUSIC]
With a little accent.
I will do it, so I'll see if we
can get a little bit more clarity.
[MUSIC]
So that practice,
when we get to the fast tempo,
it sounds a little bit like this.
Let me try.
[MUSIC]
So you can
see you can hear.
[NOISE] And therefore you get clarity.
For the sextuplets, it's important
to put a little bit more air
in the middle of the run, so
that way you can hear the notes.
We usually tend to go
[MUSIC]
because of the articulation, we think
[MUSIC]
with the air,
then it helps to hear all
the notes in the run.
So, slowly, it goes something like this.
I will try now.
[MUSIC]
So that when
we go fast.
[MUSIC]
Then you
can hear all
the notes.
Or so
we hope.
[MUSIC]
[MUSIC]
The cadenza in Cappricio Espagnol is
actually not that technically demanding,
but it is actually tricky
because it's very short.
And we always want to milk it, and
actually resent that it's
such a short little solo.
Well, all right,
we'll take it, we'll take it.
But the thing is that we still have to
have a little bit more expansiveness.
Now the way that it's written,
you can tell that it
has an implied crescendo
because we have triplets,
quadruplets, sextuplets, and septuplets.
Now in order to get this
passage cleanly when our
heart is sort of a little bit going fast,
because of the pressures
of the audition or
pressure of just playing in the concert.
What I would suggest is that we try to
play the runs actually not that fast.
But what we do is in order to create
the momentum out of intensity,
what we do is that we shorten
the long note before the run.
So basically each of the eighth notes
that we're playing is actually shorter so
that then it's, I'm going to
try to show you in slow motion.
I'm going to try to keep the moving
notes at the same speed,
but just to show you how that
shortening the eighth note
will create a feeling of momentum.
[MUSIC]
So when we add a little bit of
this speed into the triplets and
the quadruplets, etc.,
and we add that shortening,
then it will seem like it just
goes very fast and has flair.
But we still maintain
the fingers from going too fast.
So I'll try to show.
[MUSIC]
So you see I moved
the moving notes faster but
not the ratio of the notes
that go actually shorter
was the long note.
So that is a technical
way of explaining it.
And then when we add a little bit more
crescendo and more courage to it,
then it can sound free.
I'm going to try.
[MUSIC]
The last thing that you can do,
I like to do a little bit more flair.
So I put a little bit of a lean
on the top the septuplet,
on the high C when we finally
get to concert B flat or
high Cs to give it
a little bit more spice.
Let's try that.
[MUSIC]
So it justs
add a little bit of
unpredictability and
flair.
You can try.
See if you like it.
[MUSIC]