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Clarinet Lessons: Tchaikovsky - Symphony #6

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Tchaikovsky Symphony Number 6,
lovely, lovely music.
And great, great clarinet solos
to play in the first movement.
For this one we get to apply
everything that we have been talking
about in the fundamentals, smooth fingers,
controlled dynamics, and beautiful tone.
And we'll get all the control for
all the things doing what?
Yes, you got it, proper voicing.
So the first that will help us to get
the proper voicing, the attacks, or
the first thing that will get us for
the beginning of the notes,
is if we think that we're
going to play again.
Sort of like in the same world that
we were talking about the Respighi.
Let's think that we're going to play
without the register key, so that then we
remind ourselves of the feel and
the position of the high tone position.
So we start thinking like that,
and then we put the actual key
just at the very last minute.
Then for this one it's
very important to try to get as
much of the finger legato,
octopus fingers that we were
thinking about, okay?
Now, one thing that is elusive
here is that we need to
get a throat-A that matches
the color of the C, but
one that actually still has
enough clarity and is not sharp.
Now that is one of those
that we have to deal with
like we talked about in
the Brahms' Fourth Symphony.
So we have to check out the sound of
our C and see what happens with the A.
And let's remember that in
the middle of the solo,
the A is in the middle of a crescendo.
So it cannot be a note that matches the C
in roundness, but that is dull.
We still need it to be able
to play through the notes.
So we have to find a C and then get the A.
It so happens that today,
this fingering works out again, two,
three, two, three, and the C key.
The one that I tend to use mostly,
actually is three, one, three and
the C key.
One advantage of the two,
three, two, three is that going
back up to the upper register,
it allows us for a more legato fingering.
And believe me whenever we've practiced
this, we're so
used to having the throat notes being so
high that you have to use a tuner and
make sure that you can hear the pitch.
it will take a while
because we're using
to hearing it.
Which actually is a little high.
And it sounds nice by ourselves, but
when you're playing in the orchestra you
need to make sure that we get our
notes to match harmonically speaking.
Which means that our third have
to be either exactly in tune or
leaning a little lower so then it's a
perfectly in tune F major arpeggio for us.
In the second solo,
at the end of the movement,
there's two characteristic markings
that we tend to ignore a little bit,
which is the con tenerezza and animando.
The animando especially, tenorezza is
with sweetness, tenderness, right.
But the animando we never really use, and
then we play it sounds basically
the same as the beginning.
[SOUND] It's nice and lovely.
But that's not what he wants.
He needs a little bit of longing,
and even though it's soft and
with tender feeling,
it has to move forward.
Therefore, we can get that rallentando
at the end of that second measure, and
then it actually brings
the whole thing together.
So that then we can try to do it.
I will try to show you a little bit of it.
And then we
move, you see?
We have pianissimo,
and then we're
at ritardando.
If you'd like to submit this Tchaikovsky
excerpt, here's what I'm looking for.
Smooth fingers, control of dynamics,
and a beautiful singing tone.
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 yours.
I'll take a look and
give you some feedback.