James, I admire you for many reasons, and today especially for having the courage to post a rehearsal where you play less than perfectly!! It is important for professionals and non-professionals alike, particularly those studying difficult music like this, to see that even the best of us isn't always perfect, how we deal with that, and how we improve. Bravo to you!!
I was playing in a serious community orchestra, and the first rehearsal was going pretty well, I could sight read most of it. Then came Ginastera: Variaciones Concertantes which has a brutally hard Clarinet variation. The beginning is nasty, and then it gets worse from there. The silence was deafening as it got harder and harder and less and less notes (of those most were incorrect) left my horn, in my mind everyone is thinking "why is this guy here?". What I didn't know at the time was this is the most feared excerpt in the orchestral repertoire, and even pros fear it. It's so bad infact, that many clarinettists do it on multiple clarinets
I just discovered these, and they are some of the best, most informative videos about playing in an enemble. I'm sad that there's so few of them. I want more!
Ginastera was a fantastic composer and his works always have that kind of virtuoso writting, the clarinet variation in this work is so adictive that I always listen a couple of times when I heard the entire work.
Having conducted this piece several times I can attest that audiences generally enjoy it. All the solo passages (viola, cello, bass, etc.) are quite demanding. Ginastera is underrated. Thanks for your insights...and I agree with your view that dividing the passage by octave or instrument doesn't serve the composer's intentions well.
Delightful, James! I haven't picked up the instrument in 30 years, but I became a better clarinetist and musician just for watching your video. Your thoughts on collaboration with the conductor and the other players are so very important. All through high school and college I had it drilled into me that not only am I responsible for my own competence but also am to make the players around me sound as good as possible. That philosophy shines through in your work. Bravo!
James, you are a beautiful player and I appreciate that you put yourself out there, warts and all, for the sake of others learning more about this piece. I have had the pleasure/trauma of performing this piece twice in my career and found the experiences to be a great weight-loss program. There were two concerts for each engagement and the same thing happened both times. I nailed it on the first night and was less impressive on the second night. I also played the entire variation on A Clarinet. I have since turned down gigs that program this piece and have not attended auditions that have this on their excerpt list. Too much stress and I agree, the most difficult clarinet part (for me) in the orchestral repertoire. My orchestral days are behind me but I still work on this excerpt and appreciate the analyses you have offered here. I admit I still got butterflies when you started the trill section before the run. Good work!
Great analysis, information and wonderful playing. So much fun for you to share some honest diagnostic acumen with. Thank you. The Variciones is on my stand and I am encouraged to learn that it is every bit as difficult as it seems to me and that's @ quarter note = 110 and slowly progressing. So much fun. Thank you.Now on to 111.
Thank you so much for your video! It is really useful and helps me a lot to put myself in your shoes with this piece. Im going to conduct this work soon. Thanks again!
5:39 I played this about 28 years ago. I played it on Bb clarinet. The fingering for the high C# I got from a book by Jack Brymer. The other piece at the concert was Ravel's Ma mère l'Oye. I asked if I could play 2nd clarinet on the Ravel so I could spend more time practicing on the Ginastera.
Thank you for this performance study! I have to play the second half of this variation for ensemble auditions, and I needed some input on the octave slurs on altissimo G. I got so much more than I expected!
Great video!! You did a very good job on both concerts!! I've had to study this piece for the first time a couple of months ago (sadly I didn't found your video until today) but after a lot of research I decided to make all the part in A clarinet except for "the run", wich I play in Bb because I like more mi high C# than mi high D. PS: I liked your analysis and your way of think about the tempos to understand the entire piece and the clarinet variation. Greetings from Argentina!
20:24 Watching this from the eyes of an admirer, being nothing close to true clarinet caliber, YES, I see the difference! And feel it. The conductor is a different person in the Second Runthrough. // new topic // You must work very hard on editing these videos, especially searching for that cute stuff that you include. THANKS 🔎👍🏽🦆
The only time I ever had to audition this excerpt, I played it on A and did the trills and "the run" on Eb. There's just enough time to switch, and I don't think they missed the first note of the run in the slightest. ;) #offtheendofthehorndidanybodynotice #cruelandunusual
I have played at this level at my young age. There is a secret for you to get it to another level. Go to bad early, get up at 4:30 and play the hard parts at diverse slow speeds for one hour. DON'T PLAY IT AT TEMPO, NOT EVEN ONCE AND ABSOLUTELY DO NOT PLAY ANYTHING ELSE IN THIS PRACTICE SESSION. Go back to sleep or have breakfast Do whatever you usually do, Do the same next day etc etc. Subconsciously most people aims for a physical virtuosity but don't know how to imprint it litteraly in the subconscious
Brilliant video - terrific! I gave two questions: 1. what fingering do you use for the D in the final 4 bars of sextuplets? Is that an open D or a sidekey D? Secondly, I assume you use a harder reed for this piece, is that correct?
A harder reed means a poorer embouchure. A good embouchure will play the highest notes on a soft reed. High notes are 'controlled squeaks'. Try double lip for a while and see the difference.
This movement is amazing...when done right and without cheating going to the lower octave. Do you take requests? Would love to hear the Bartok Miraculous Mandarin next. All the parts on ALL the clarinets he called for :P (i've never seen that many clarinets on stage at once ever)
I do the first half of the excerpt including the run on Bb then switch to A. This video is very old and not the greatest! I'm under tempo but still a little inconsistent with the rhythm but you get the idea haha - th-cam.com/video/wGn3Q76IlFo/w-d-xo.html
I've got to play this with Auckland Chamber Orchestra in a month, and it's not the high note that scares me, it's the stuff that comes AFTER that that scares me... Nice work sir!
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Wow! I never realized how much goes into presenting a musical piece!
James, I admire you for many reasons, and today especially for having the courage to post a rehearsal where you play less than perfectly!! It is important for professionals and non-professionals alike, particularly those studying difficult music like this, to see that even the best of us isn't always perfect, how we deal with that, and how we improve. Bravo to you!!
I was playing in a serious community orchestra, and the first rehearsal was going pretty well, I could sight read most of it. Then came Ginastera: Variaciones Concertantes which has a brutally hard Clarinet variation. The beginning is nasty, and then it gets worse from there. The silence was deafening as it got harder and harder and less and less notes (of those most were incorrect) left my horn, in my mind everyone is thinking "why is this guy here?".
What I didn't know at the time was this is the most feared excerpt in the orchestral repertoire, and even pros fear it. It's so bad infact, that many clarinettists do it on multiple clarinets
I just discovered these, and they are some of the best, most informative videos about playing in an enemble. I'm sad that there's so few of them. I want more!
Ginastera was a fantastic composer and his works always have that kind of virtuoso writting, the clarinet variation in this work is so adictive that I always listen a couple of times when I heard the entire work.
Having conducted this piece several times I can attest that audiences generally enjoy it. All the solo passages (viola, cello, bass, etc.) are quite demanding. Ginastera is underrated. Thanks for your insights...and I agree with your view that dividing the passage by octave or instrument doesn't serve the composer's intentions well.
I preferred it when the Eb played the top of the run. More oomf, more exciting.
Bravo James! Thank you for your suggested fingerings, etc..
Delightful, James! I haven't picked up the instrument in 30 years, but I became a better clarinetist and musician just for watching your video. Your thoughts on collaboration with the conductor and the other players are so very important. All through high school and college I had it drilled into me that not only am I responsible for my own competence but also am to make the players around me sound as good as possible. That philosophy shines through in your work. Bravo!
Great analysis
Thanks for the master class. You are an amazing teacher!! 🎉🎉🎉
Thank you for sharing this valuable material. Bravo!
James, you are a beautiful player and I appreciate that you put yourself out there, warts and all, for the sake of others learning more about this piece. I have had the pleasure/trauma of performing this piece twice in my career and found the experiences to be a great weight-loss program. There were two concerts for each engagement and the same thing happened both times. I nailed it on the first night and was less impressive on the second night. I also played the entire variation on A Clarinet. I have since turned down gigs that program this piece and have not attended auditions that have this on their excerpt list. Too much stress and I agree, the most difficult clarinet part (for me) in the orchestral repertoire. My orchestral days are behind me but I still work on this excerpt and appreciate the analyses you have offered here. I admit I still got butterflies when you started the trill section before the run. Good work!
I admire you, thank you really much!
Great analysis, information and wonderful playing. So much fun for you to share some honest diagnostic acumen with. Thank you. The Variciones is on my stand and I am encouraged to learn that it is every bit as difficult as it seems to me and that's @
quarter note = 110 and slowly progressing. So much fun. Thank you.Now on to 111.
Thank you so much for your video! It is really useful and helps me a lot to put myself in your shoes with this piece. Im going to conduct this work soon. Thanks again!
Love all your videos. Thank you
You are fearless! Thanks for sharing your journey even the warts
5:39 I played this about 28 years ago. I played it on Bb clarinet. The fingering for the high C# I got from a book by Jack Brymer. The other piece at the concert was Ravel's Ma mère l'Oye. I asked if I could play 2nd clarinet on the Ravel so I could spend more time practicing on the Ginastera.
Allthough i probably will never play this piece, your video is fun and interesting. Thanks. Especially for the fingerings. 👍😘
i thought these videos were deleted glad to see them reuploaded
Thank you for this performance study! I have to play the second half of this variation for ensemble auditions, and I needed some input on the octave slurs on altissimo G. I got so much more than I expected!
Pls, another video!!
Marcellus does 108bpm, you did great job!
Love this video. Will help me quite a bit with my upcoming ensemble auditions this upcoming school year!
Great video!! You did a very good job on both concerts!!
I've had to study this piece for the first time a couple of months ago (sadly I didn't found your video until today) but after a lot of research I decided to make all the part in A clarinet except for "the run", wich I play in Bb because I like more mi high C# than mi high D.
PS: I liked your analysis and your way of think about the tempos to understand the entire piece and the clarinet variation.
Greetings from Argentina!
This is awesome
Nicely done Lad.
Oooh you played it on an A clarinet! I'm telling.. lol! Nice playing!
Bravo. Great job!
Great video!
I appreciate the intro music & production that include the tutti passage from the clarinet variation lmao genius
Great Video James! Lots of good info.
20:24 Watching this from the eyes of an admirer, being nothing close to true clarinet caliber, YES, I see the difference! And feel it. The conductor is a different person in the Second Runthrough. // new topic // You must work very hard on editing these videos, especially searching for that cute stuff that you include. THANKS 🔎👍🏽🦆
Damn you really nailed that scale! I played this piece once before and couldn't reach that highest note. This is really a nasty excerpt for Clarinets.
HaHa Great video!! Crazy (but beautiful) piece!!
Love the vids!
The only time I ever had to audition this excerpt, I played it on A and did the trills and "the run" on Eb. There's just enough time to switch, and I don't think they missed the first note of the run in the slightest. ;) #offtheendofthehorndidanybodynotice #cruelandunusual
Great video! Where can we get the sheet music?
The tempo map seems like it would be very helpful. Is it very time-consuming to create this, or is it a separate plug-in that does it? Great video!
I have played at this level at my young age.
There is a secret for you to get it to another level.
Go to bad early, get up at 4:30 and play the hard parts at diverse slow speeds for one hour. DON'T PLAY IT AT TEMPO, NOT EVEN ONCE AND ABSOLUTELY DO NOT PLAY ANYTHING ELSE IN THIS PRACTICE SESSION.
Go back to sleep or have breakfast
Do whatever you usually do,
Do the same next day etc etc.
Subconsciously most people aims for a physical virtuosity but don't know how to imprint it litteraly in the subconscious
It's great to know that you used the long fingering for the high Gs, but what fingering did you use for the highest D?
The fingering is in the video!
Brilliant video - terrific! I gave two questions: 1. what fingering do you use for the D in the final 4 bars of sextuplets? Is that an open D or a sidekey D? Secondly, I assume you use a harder reed for this piece, is that correct?
A harder reed means a poorer embouchure. A good embouchure will play the highest notes on a soft reed. High notes are 'controlled squeaks'. Try double lip for a while and see the difference.
GInastera is an italian name meaning the correct pronounciation is the same fricative sound as is Gino Cioffi
This movement is amazing...when done right and without cheating going to the lower octave.
Do you take requests? Would love to hear the Bartok Miraculous Mandarin next. All the parts on ALL the clarinets he called for :P (i've never seen that many clarinets on stage at once ever)
I’m at the mercy of whatever the Nashville Symphony programs, but if Miraculous Mandarin comes up again, I’ll do it!
G r e a t ❗😎❗🤣❗😇❗🛑
I do the first half of the excerpt including the run on Bb then switch to A. This video is very old and not the greatest! I'm under tempo but still a little inconsistent with the rhythm but you get the idea haha - th-cam.com/video/wGn3Q76IlFo/w-d-xo.html
I've got to play this with Auckland Chamber Orchestra in a month, and it's not the high note that scares me, it's the stuff that comes AFTER that that scares me... Nice work sir!