ACCOMPANIMENT – REHEARSAL WITH THE PIANO

The teacher advises the student at a rehearsal with the piano

 

 Rehearsals with the piano accompaniment present an important factor in the development of a young musician.

   Each piece gets its significance and becomes a whole only in rehearsals with the piano (this is not applicable to pieces without accompaniment).

—————————————

The rehearsals with the piano should be
performed in two phases:

1st Phase: Adjustment of the piano and the clarinet part

  — At this phase we are trying to play the piece rhythmically precise, without the dynamic changes. The piece is rehearsed as an etude with the piano accompaniment. At the adjustment rehersals it is necessary to understand the parts of the clarinet performance and its pauses. More difficult parts should be separated and then practiced slowly several times with the piano accompaniment. Pieces at a faster speed should be practiced at a moderate speed.

   * At this phase there is no need to play by heart.

2nd Phase:  Playing as a whole

  — This phase occurs after 3-4 adjustment rehearsals.
The piece is played by heart, the required tempo, dynamics, and agogics are apllied, the personal emotion and understanding of the piece are brought into it.

   It is very good that before the adjustment phase a teacher analyzes the piano score with a student. In this way rehearsals are efficient and the time is not wasted needleslly.

   At rehearsals, apart from practicing pieces, playing pieces by heart is also checked. The parts which have not already been memorized can easily be noticed i.e. the parts which should be better learned.

From one musical rehearsal

   The rehearsal with the piano should prove whether the chosen reed is really the best one for performance.

   The student should come to the rehearsal as if coming to the clarinet class and play at least 5 minutes before the rehearsal, so that the temperature of the clarinet could equal to the indoor temperature (for tuning of the instrument). This is also necessary for warming up the fingers and lips.

   At the rehearsal with the piano accompaniment a beginner student usually blows stronger than at the class in order to sound louder than the piano. This naturally leads to a constraint and failure in the sound of the clarinet. There are frequent changes in the concept of the piece.

   The general rule would be: Do not change anything without a note from your teacher!


Taken from my book
I Am Studying Clarinet III


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