FA+
Shop
112 submissions
Whoa, this one just about killed me. Two pages of nothing but articulations in all registers. The back pressure gave me a severe headache and I didn't play for a day or two!
This one is etude number 2: after D. Paradies "Toccata."
(edit: Whoops.... I seem to have erased one of the repeats when I put this recording together to submit. I must have thought it was a messed up take and just erased it, but it was an actual repeat. ...not that the piece actually needs another repeat, ha)
_________________
About the etude project:
I've been challenging myself to practice a different etude every day and prepare it to the best of my ability in one day. This has been very helpful, but I wanted to add an additional element of pressure/nervousness. So I started recording them to post here.
It's not a real performance- I usually AM playing with a metronome, and I usually record these in a couple of takes and put them together later. I'll try to do them in a single take when possible, but usually I'll break them up.
_________________
Recorded on 3/27/2013.
This one is etude number 2: after D. Paradies "Toccata."
(edit: Whoops.... I seem to have erased one of the repeats when I put this recording together to submit. I must have thought it was a messed up take and just erased it, but it was an actual repeat. ...not that the piece actually needs another repeat, ha)
_________________
About the etude project:
I've been challenging myself to practice a different etude every day and prepare it to the best of my ability in one day. This has been very helpful, but I wanted to add an additional element of pressure/nervousness. So I started recording them to post here.
It's not a real performance- I usually AM playing with a metronome, and I usually record these in a couple of takes and put them together later. I'll try to do them in a single take when possible, but usually I'll break them up.
_________________
Recorded on 3/27/2013.
Category Music / Classical
Species Unspecified / Any
Size 107 x 120px
File Size 2.5 MB
Each etude is different, but for every etude, there are two identically (as far as note placement) notated etudes, but (for example), if it is in the key of C, it's counterpart of equal notation is transposed to C-sharp. F, then by that logic, is transposed to F-sharp, B-flat to B, E-flat to E, and etc. You may get a kick out of it. It's really the only etude book I can say I enjoyed for my own instrument, and probably because I enjoyed it as an oboist before going with what they gave me a higher (much much higher) scholarship on when I originally began my undergraduate studies.
I see. That kind of makes sense, because most etudes travel to many different keys within the etude. So transpose it once, and you've hit a lot more difficult passages that may have been easy before. Very cool concept! I wonder if it's been done for the clarinet; but if it works for oboe, it works for clarinet, so I could probably just buy that book and use it as is.
Yeah, just buy the book. It was originally made for Oboe/Sax, since they generally have the same range of notes (B-flat written below treble staff, up to as high as a high F--sometimes F-sharp). Bassoon is the only other transcription, but it's not like you, as a treble-clef instrument couldn't just read the Treble (Oboe/Sax) book.
I've worked on flute etudes in the past- it gets a little crazy but it's a great workout for the altissimo register. Oboe etudes should fit nicely within the range, though!
I tried to find the Fehrling on sheetmusicplus.com but it has zero results. I thought they had pretty much everything! Do you know of a place I can order it?
I tried to find the Fehrling on sheetmusicplus.com but it has zero results. I thought they had pretty much everything! Do you know of a place I can order it?
Actually, yes, but this isn't the edition where they added the transpositions. Still, it's a great addition (being the original and all). http://conquest.imslp.info/files/im.....oe__Op._31.pdf
Coming around to look, myself, the only one I can now find with transpositions of the first link is the bassoon one. Odd... Well--you could always learn to read bass clef, right? :P I mean, heck, the Mladi bass part is in bass clef. At least the publishers bothered to transpose it to B-flat for the instrument...unlike the very-small solo in Der Wasserman (The Water Goblin, for orchestra) by Dvorak. They left that transposed into Bass Clarinet in A.
Hahaha yeah... bass clarinet players complain about that sometimes. Parts written in bass clef, or the composer didn't write it up an octave (bass sounds an octave lower than written), or the composer wrote for A bass clarinet- or some combination of all of them! Fortunately for me, my bass-playing days are over, unless I get dragged into another Pierrot performance
How can one ever say their bass playing days are over? Bass clarinet is such an amazing sounding instrument, and so cool to have amazing skills/chops on, because lets face it: otherwise, everyone thinks that it's the tuba of the woodwind section. I need to personally get mine in to have some pads adjusted so it plays like a dream again. Until then, it's been sitting in my closet nearly a year...since I just don't have the money to do any repair on it. (But, I need to get it done, especially since I love playing low reeds for pits and recording studio gigs. That /is/ why I have a bari sax and a bass clarinet along with my bassoon, after all.)
Hehehe! Yeah the bass does sound cool. I used to play bass with a local orchestra when I was in college; it just was never my specialty. I focus more on E-flat when it comes to the auxiliaries; always had more fun with those crazy exposed solos, hehe. That, and E-flat just sort of came naturally to me while bass was always more of a struggle. Ordinarily I wouldn't say that's a reason to quit, but since I've always had more fun playing principal or E-flat, and most people specialize on either E-flat or Bass rather than trying to play them all, this is how things turned out :)
I have one friend who, after grad school and buying his 'paperclip' BB-flat contrabass, only now focuses on contrabass and E-flat sopranino. He's totally wicked at contra, too. His entire second year at CalArts with me was spent figuring out the enharmonic series notes to the point where he can play entirely altissimo up to the range of E-flat sopranino. I love doing gigs where he'll play up in the clarion register of what would be otherwise the B-flat/A clarinet's range.
Nice! I've played a double b-flat contrabass before. It's a really great sound; you can practically feel your own body cavity vibrating as you play. And yes, I've learned since grad school that some people play all the auxiliaries; the 2nd clarinetist in our symphony also wants to be a sort of pan-auxiliary clarinet player. More power to them! But in my view, it'll be hard to compete against people who specialize in one direction and clock all their hours on one instrument.
Oh, wow! Most of these seem to have been taken by Cyrille Rose and then transcribed and recomposed/extended in his famous etude books for clarinet. A few of them are new to me, and the ones I do recognize are in different keys, so I still plan to print this out and work on them. But it's cool to see the original versions of these!
Heh heh, when it comes to repeats in études, I almost never take them. XD
Reminds me of the third movement of Bach's BWV 79. I had all 8th notes in 2/2. Two or three 8th rests, that was it. Of course the register changes weren't THAT crazy, but no rests made it tough. In the full recording you can hear me breathe a sigh of relief after we finish the movement.
Reminds me of the third movement of Bach's BWV 79. I had all 8th notes in 2/2. Two or three 8th rests, that was it. Of course the register changes weren't THAT crazy, but no rests made it tough. In the full recording you can hear me breathe a sigh of relief after we finish the movement.
I tend to take repeats in etudes, because it really forces me to know the passages. If I can just fly by the seat of my pants and get lucky once, that's one thing. But if I know an etude well enough to repeat it, that's more demanding.
Heheh. Yeah sometimes I have no clue what composers were thinking when they write stuff with no consideration for breathing.
Heheh. Yeah sometimes I have no clue what composers were thinking when they write stuff with no consideration for breathing.
Comments