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Clarinet Lessons: Rimsky-Korsakov -Scheherazade, 3rd Movement

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In the third movement of Rimsky-Korsakov
we have one little passage
that is to create sort of
like a flair of scale, and
it's really lovely to play.
Nowadays, we get plenty
of room to play the part.
Conductors give us a little bit of room.
What has happened is that we tend
to lose the rhythmic shape to it.
Now, Rimsky-Korsakov himself gives
us a hint on the interpretation.
If you look at the clarinet
part of the score,
this passage that we have is basically
we are playing the same note that
we play at the beginning of the movement,
but he divides it in two beats.
So we have 11 notes and 15 with
an emphasis and with an accent on the F.
That's what Rimsky-Korsakov writes at M,
which is with the flute.
So in that passage, that M goes one,
two, three
I'm doing a little fast
just to show you [SOUND].
Now at the beginning is
the andantino note quasi allegretto.
Now it's important to
be thinking about this.
This andantino quasi allegretto is
the story of two young lovers, okay?
In the Arabian Nights,
the lovers were very unlike what
we call young lovers nowadays,
we call a nice love story would be like
college kids or right out of college.
In the time of Arabian Nights
being a young lover you were like
15 years old, 14.
So there's a lot of emotion and a lot of
hope and a great deal of innocence to it.
So it cannot be too heavy and
it has to move.
So usually, most conductors now,
they conduct this too slow because they go
That's not andante, it's not andantino.
Andantino is almost, almost,
just a little bit less.
It's like a spirited walk.
And then it says quasi allegretto,
which is almost moving, in a bright space.
So then you have to be thinking
there that helps us get the rhythm.
It's not a German slow movement.
It has to have levity and subtlety.
So what does that have to do with
the little run that we have to play?
It's that then also it
has to have a smoothness
that is not in the part as he wrote at M.
Therefore, he puts
the emphasis the same way.
He put 26 notes with a hairpin, but
it still has to be just gentle.
Therefore, the leaning has to be without
an accent on the top of the run.
So I will do it with the emphasis
similarly to what he writes at
M but without an accent and
trying to be smooth.
I'm going to try it now.
So you see, I get to the note,
lean a little bit, and then get fa,
mi, so, fa, mi,fa,so,la,fi, la, and
then let go the other notes.
In the third movement as well,
there is another tricky part, and
it's the little solos at D.
Now, it is difficult because we
have to play pianississimo, okay.
And it has staccato notes.
And has gracioso.
So what do we do to
translate those things.
Now what is expected of
us is to have a clear
articulation in the soft passages
while keeping a bouncy happy approach.
What does that mean to
have a happy approach?
It is that in the dotted rhythm.
[SOUND] That it is Important
to have an exaggerated,
almost exaggerated 16th note.
So then it'll be a little bit later,
instead of [SOUND].
See, he actually puts an accent on the
third beat, so he creates a syncopation.
Instead of,
That's what we expect.
But this is music for young lovers, so
they are playing around, so it's
Okay so it just brings it a little
bit off-kilter, so
it has a nice little bounce.
What to do about getting
those soft articulation.
This is one of those that we have to watch
maintaining the air support
in the pianissimo passages.
So how do we do that?
Again go back to
the lesson on air support.
This is one of those that really
really benefits from that
because what it forces
us to do is not bite.
If we're thinking about doing
the practicing it without the razor key.
Let me show you
without the key
What does that do?
Is that then I have to keep the air fast
and the tongue in the high position and
not getting too sluggish with it.
So when I apply that, believe me, when I
try to play this, what I do is I think
that I'm going to play without the key,
and then I put the key at the last minute.
So it forces me to be thinking,
voicing, voicing.
And then put it on.
So it's like thinking of
putting the position.
Then the other trick is to play
long the note that has the accent.
You see, it's You have an accent
on the third eighth note.
Do-re-mi-re-mi, there's no
mi-re-mi so-fa-mi-re-mi stop,
so it's long.
And when we have that then what it does
is that then the interruption that we do
to clarify, to clear between the E and
G that's your articulation for your G.
And we're done.
So it is trying to, always remember that.
So let me try.
So you see I'm not stopping the air and
that helps me to get the to pa mi.
It's bouncy it's short but
it doesn't get peggy and
I'm not biting because I'm
practicing it without.
I think without the register key and
I'm always thinking I'm going to
play the voicing style without the key and
then put the key at the last minute.