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Each day, I play audition excerpts that are the most difficult for me personally. Some people have no problem with this or that excerpt, but this is my own personal struggle. I was feeling good about them, so to add more pressure I made this recording. The pieces you'll hear in this recording are:
00:00 - Prokoffiev: Romeo & Juliet - Mandolin Dance
00:30 - Tchaikowsky: 6th Symphony, 1st movement
00:41 - Tchaikowsky: Sleeping Beauty - The Blue Bird
01:50 - Ravel: Daphnis & Chloe - Brook Scene
02:29 - Ravel: Daphnis & Chloe - Tambourine Dance
03:29 - Mendelssohn: 4th Symphony, 4th movement
04:10 - Stravinsky: Petroushka - Masks
04:28 - Rimsky-Korsakov: Capriccio Espagnol - 1st movement
04:47 - Ginastera: Variaciones Concertantes - Clarinet variation
06:03 - Stravinsky: Four Norwegian Moods - 1st movement
06:43 - Berlioz: Fantastic Symphony - 4th movement
07:12 - Rimsky-Korsakov: Capriccio Espagnol - 3rd movement
07:34 - Beethoven: 4th Symphony - 4th movement
07:41 - Beethoven: 6th Symphony - 3rd movement
07:52 - Holst: The Planets - Uranus, the Magician
07:59 - Prokoffiev: Peter & the Wolf
08:26 - Smetana: Overture to “The Bartered Bride”
08:49 - Tchaikowsky: Overture to “The Nutcracker”
08:58 - Shostakovitch: 1st Symphony (2nd clarinet)
09:04 - Mendelssohn: Scherzo from “A Midsummer Night's Dream”
Performed by
Greggest, recorded by 
FlippantMoniker
00:00 - Prokoffiev: Romeo & Juliet - Mandolin Dance
00:30 - Tchaikowsky: 6th Symphony, 1st movement
00:41 - Tchaikowsky: Sleeping Beauty - The Blue Bird
01:50 - Ravel: Daphnis & Chloe - Brook Scene
02:29 - Ravel: Daphnis & Chloe - Tambourine Dance
03:29 - Mendelssohn: 4th Symphony, 4th movement
04:10 - Stravinsky: Petroushka - Masks
04:28 - Rimsky-Korsakov: Capriccio Espagnol - 1st movement
04:47 - Ginastera: Variaciones Concertantes - Clarinet variation
06:03 - Stravinsky: Four Norwegian Moods - 1st movement
06:43 - Berlioz: Fantastic Symphony - 4th movement
07:12 - Rimsky-Korsakov: Capriccio Espagnol - 3rd movement
07:34 - Beethoven: 4th Symphony - 4th movement
07:41 - Beethoven: 6th Symphony - 3rd movement
07:52 - Holst: The Planets - Uranus, the Magician
07:59 - Prokoffiev: Peter & the Wolf
08:26 - Smetana: Overture to “The Bartered Bride”
08:49 - Tchaikowsky: Overture to “The Nutcracker”
08:58 - Shostakovitch: 1st Symphony (2nd clarinet)
09:04 - Mendelssohn: Scherzo from “A Midsummer Night's Dream”
Performed by
Greggest, recorded by 
FlippantMoniker
Category Music / Classical
Species Unspecified / Any
Size 107 x 120px
File Size 9.24 MB
don_tina[at]rocketmail.com
Hello Dear,
My name is Tina i saw you profile today and became intrested in you and i want you to contact me back through my private email(don_tina@rocketmail.com)
here so that i can give you my photo for you to know whom i am,and remember that distance or colour doesn't matter anything but love matters allot in life,am waiting for your reply.
OK
Tina
Hello Dear,
My name is Tina i saw you profile today and became intrested in you and i want you to contact me back through my private email(don_tina@rocketmail.com)
here so that i can give you my photo for you to know whom i am,and remember that distance or colour doesn't matter anything but love matters allot in life,am waiting for your reply.
OK
Tina
Hello Darling,
My name is Greggest. I saw your profile today (you've been banned) and I want you to contact me never again.
I would love for you to send me some discarded glamour-shot of some person that you found lying around in the garbage somewhere-- Oh wait wait, I mean "YOUR PHOTO." Sorry. Distance or colour doesn't matter but I will hate you no matter how far away or how purple you might be. I'm hoping you don't reply.
OK
Greggest
My name is Greggest. I saw your profile today (you've been banned) and I want you to contact me never again.
I would love for you to send me some discarded glamour-shot of some person that you found lying around in the garbage somewhere-- Oh wait wait, I mean "YOUR PHOTO." Sorry. Distance or colour doesn't matter but I will hate you no matter how far away or how purple you might be. I'm hoping you don't reply.
OK
Greggest
Wow I have to say its so impressive once its isolated. Daphnis and Chloe is one of my favorite pieces and I have done assignments where I analyzed the score, but I didn't appreciate that clarinet part until I heard you play it in isolation. It seems really hard because it seems like it goes right through the register break. Its so awesome to hear you play this way. I REALLY must write you something one day. Thanks for posting.
Thank you, thank you! ^o^ Yes, it's extremely awkward, popping up and down over the break, and it's in a terrible key. Of course there's tons more but these are the hardest runs for me which is why I practice those more.
I'd love you to write me something! :) I did a lot of new music in college and it would be easy for me to record it for you too.
I'd love you to write me something! :) I did a lot of new music in college and it would be easy for me to record it for you too.
(Commenting as I listen.)
Coolness. Maybe I should do some more of my rough recordings as well. XD
Yeah the 4th movement of Mendelssohn 4 was a challenge for the woodwinds when we did it. We got it good though :3
You're doing all this stuff I've done and liked <3
A cellphone went off and you stopped. X3
Yay Berlioz. I've done that specific movement twice already. XD
Also outtakes would be amazing.
*Clarinet playing, squeaky reed* "MOTHERFFF-...." *goes back to playing*
Coolness. Maybe I should do some more of my rough recordings as well. XD
Yeah the 4th movement of Mendelssohn 4 was a challenge for the woodwinds when we did it. We got it good though :3
You're doing all this stuff I've done and liked <3
A cellphone went off and you stopped. X3
Yay Berlioz. I've done that specific movement twice already. XD
Also outtakes would be amazing.
*Clarinet playing, squeaky reed* "MOTHERFFF-...." *goes back to playing*
Hehe ^o^
Yeah I was used to the Mendelssohn at a much slower tempo. But the first time I played it professionally the conductor took it at half-note-equals 104, and even the great flute players we had were having difficulty. It's great that you already have exposure to the piece, but practice it fast!! Hehe
Nah, I think the outtakes were kinda boring for this one. We didn't have much time so I would just start over if I didn't like something. After this I recorded the audition pieces my students have to play for all-state, and I got goofy with my outtakes when we were almost done recording, but that's a completely different recording. :)
Thanks for listening! ^o^
Yeah I was used to the Mendelssohn at a much slower tempo. But the first time I played it professionally the conductor took it at half-note-equals 104, and even the great flute players we had were having difficulty. It's great that you already have exposure to the piece, but practice it fast!! Hehe
Nah, I think the outtakes were kinda boring for this one. We didn't have much time so I would just start over if I didn't like something. After this I recorded the audition pieces my students have to play for all-state, and I got goofy with my outtakes when we were almost done recording, but that's a completely different recording. :)
Thanks for listening! ^o^
Hey, thanks!! ^o^ Especially nice from another clarinetist.
Hehe- I only do two trills in that one spot because it's slurred down to the following note. The rest of the time the next note's articulated, so to keep it sounding short (and to make it easier!!) I just play one trill.
Ugh, the Ginastera- yeah, I flew by under the radar never needing to learn that piece, until I found out 6 months before my orchestra performed it last year... yeah I pretty much ONLY worked on that piece for 6 months hahaha!
Mandarin is one of my favorites! It's really hard but soooo damn cool. The only spots I really, really despise are the opening traffic scene (bada-Squawk! bada-Squawk! you probably know what I mean) and the 2nd big soli with those D#-B sextuplets... I call that the "telephone spot." How has the piece been going for you?
Well really thanks for listening and commenting! *hugs*
^o^
Hehe- I only do two trills in that one spot because it's slurred down to the following note. The rest of the time the next note's articulated, so to keep it sounding short (and to make it easier!!) I just play one trill.
Ugh, the Ginastera- yeah, I flew by under the radar never needing to learn that piece, until I found out 6 months before my orchestra performed it last year... yeah I pretty much ONLY worked on that piece for 6 months hahaha!
Mandarin is one of my favorites! It's really hard but soooo damn cool. The only spots I really, really despise are the opening traffic scene (bada-Squawk! bada-Squawk! you probably know what I mean) and the 2nd big soli with those D#-B sextuplets... I call that the "telephone spot." How has the piece been going for you?
Well really thanks for listening and commenting! *hugs*
^o^
I was actually going to play that this year with my orchestra, until our director called it off until next year. But at least I have a high familiarity with the notes (I played the 1st 2 cadenzas for placements earlier this year).
Those sextuplets are brutal. I use the RH top two side keys instead of the front A key, because my index finger just doesn't work like that...
And yeah that beginning. Nowhere to freaking breath, and awkward patterns left and right. But in the end it's worth-it.
I don't have to learn that this year for summer fest applications. Most notably I need a lot of the basic rep (Beethoven, Brahms, Scherzo, Firebird, etc...), and then I'm auditioning on bass as well. Those will take time (especially the bass part in Daphnis...holy crap).
Those sextuplets are brutal. I use the RH top two side keys instead of the front A key, because my index finger just doesn't work like that...
And yeah that beginning. Nowhere to freaking breath, and awkward patterns left and right. But in the end it's worth-it.
I don't have to learn that this year for summer fest applications. Most notably I need a lot of the basic rep (Beethoven, Brahms, Scherzo, Firebird, etc...), and then I'm auditioning on bass as well. Those will take time (especially the bass part in Daphnis...holy crap).
I used to use just the open-D harmonic with the throat G-sharp key because I couldn't get the A key to work either. Recently I was displeased with how those sounded so I devoted a few minutes a day to learning it with the A key and it sounds much better! So you use the top 2 RH Side keys? With what other fingers?
Oh wow, yeah, the bass part to Daphnis is so nasty. I was listening to a friend play her audition excerpts and that one was insane. I can only assume when I've done Daphnis there was a lot of faking down in the bass department, hehehe.
What summer festivals are you working towards? You don't have to say if you don't want to put that information on FA.
Oh wow, yeah, the bass part to Daphnis is so nasty. I was listening to a friend play her audition excerpts and that one was insane. I can only assume when I've done Daphnis there was a lot of faking down in the bass department, hehehe.
What summer festivals are you working towards? You don't have to say if you don't want to put that information on FA.
I use the high c fingering with the top 2 side RH keys only. Then I alternate with high b fingering, which seems to work best for me. The only problem is if I try to play it too loud or somehow screw up voicing, the D# doesn't come out cleanly. Still easier than flipping the A (it amazes me when I see people pull it off!).
Summer fests: I'm auditioning for quite a few places. Last year I didn't plan very effectively, because most places I applied to wound up conflicting with other things I wanted to do (Clarifest). That and I tried to cram in pretty much all the standard orchestral excerpts in a span of 6 weeks. I recorded during my winter break and took way too many takes for each (especially Firebird–probably over 100...), therefore my playing was pretty emotionless, and I got waitlisted for a place that I could have gone to. Luckily, there was a pretty casual camp with openings that I went to, and got a chance to study with Ricardo Morales!
This summer my tentative list is: Colorado College Fest, Hot Springs music fest, Round Top, EMF, Nat. Orch Institute, Monteux School, (back ups:) Kent/Blossom Orchestra, Sewanee, Rocky Ridge. When there are opportunities to audition with bass clarinet, I'm doing so.
Summer fests: I'm auditioning for quite a few places. Last year I didn't plan very effectively, because most places I applied to wound up conflicting with other things I wanted to do (Clarifest). That and I tried to cram in pretty much all the standard orchestral excerpts in a span of 6 weeks. I recorded during my winter break and took way too many takes for each (especially Firebird–probably over 100...), therefore my playing was pretty emotionless, and I got waitlisted for a place that I could have gone to. Luckily, there was a pretty casual camp with openings that I went to, and got a chance to study with Ricardo Morales!
This summer my tentative list is: Colorado College Fest, Hot Springs music fest, Round Top, EMF, Nat. Orch Institute, Monteux School, (back ups:) Kent/Blossom Orchestra, Sewanee, Rocky Ridge. When there are opportunities to audition with bass clarinet, I'm doing so.
Ohhh yeah I think I've used that fingering once or twice when working on that piece. I can kind of remember the "feel" of that instability you describe, if that makes sense to say it that way.
And I definitely sympathize with your multiple-take Firebird. I used to record hours and hours for a 5-minute audition tape (yeah yeah... it was tapes back then, haha)
Those are some good festivals! I was a guest-artist with a chamber group there about 10 years ago. Is Hawkins still the teacher there? He's amazing. NOI is of course also great. I don't know some of the others. Have you considered Sarasota? I think Eli Eban is one of the professors there (I THINK so at least). He's a genius of a teacher (former principal of Israel) but he's not as well known as some others. That might be a good back up option as well. :)
And I definitely sympathize with your multiple-take Firebird. I used to record hours and hours for a 5-minute audition tape (yeah yeah... it was tapes back then, haha)
Those are some good festivals! I was a guest-artist with a chamber group there about 10 years ago. Is Hawkins still the teacher there? He's amazing. NOI is of course also great. I don't know some of the others. Have you considered Sarasota? I think Eli Eban is one of the professors there (I THINK so at least). He's a genius of a teacher (former principal of Israel) but he's not as well known as some others. That might be a good back up option as well. :)
Anthony Taylor of U North Carolina teaches there; I can't attest to his quality. A big reason why I'm picking Hot Springs is for the fellowship opportunity.
Just laid out over 5 grand for a bass...
I do have Sarasota on a "watch" list; I was mainly trying to go orchestral (Sarasota is strictly chamber, right?). Though I may consider it in the future, since you brought it up.
Just laid out over 5 grand for a bass...
I do have Sarasota on a "watch" list; I was mainly trying to go orchestral (Sarasota is strictly chamber, right?). Though I may consider it in the future, since you brought it up.
Ah, I see. Yeah, I don't know Anthony Taylor either. Hot Springs seemed like it would be fun, though it's extremely hot and ridiculously humid. Reeds like it though :)
Whoaaa you bought a bass! Awesome! I don't play much bass unless it's absolutely necessary; I'm more of an E-flat player when it comes to auxiliaries.
Now that you mention it, I do think Sarasota is primarily chamber. It does sound like you have a pretty comprehensive list! I'm sure you'll have a great experience at any of them ^o^
Whoaaa you bought a bass! Awesome! I don't play much bass unless it's absolutely necessary; I'm more of an E-flat player when it comes to auxiliaries.
Now that you mention it, I do think Sarasota is primarily chamber. It does sound like you have a pretty comprehensive list! I'm sure you'll have a great experience at any of them ^o^
Thanks very much! Yes, I do know how to use it, though I don't find it appropriate to the style of most orchestra music. But, you're right- when it's jazz, I'll throw in some vibrato :) I just played Rhapsody in Blue this summer and I use it a lot for the opening solo.
And, wow! She's really amazing. Great sound, and such fluid, clear technique on the fast passages! I love when she puts it down and sings too- though I have to say I was distracted by the big santa-like guy who walked by at one point (why did the camera turn to film his butt?) haha!
^o^
And, wow! She's really amazing. Great sound, and such fluid, clear technique on the fast passages! I love when she puts it down and sings too- though I have to say I was distracted by the big santa-like guy who walked by at one point (why did the camera turn to film his butt?) haha!
^o^
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