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MrClean
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 Posted: Sat Jun 06, 2020 7:19 pm Post subject: |
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Episode #76
https://youtu.be/nqmQBq8bKKE
I apologize, but I cannot remember the name of the composer of this etude. It is from a collection of random etudes compiled by a friend. I recognize it (or a slightly different version of it), but could not find it among my etude books that are at my house.
The goal was to keep it as fluid and singing as possible,, and to show some dynamic/dramatic contrast where appropriate.
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Jim Wilt
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Tpt_Guy
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| Posted: Sun Jun 07, 2020 12:06 am Post subject: |
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Beautiful playing.
That one is familiar!
Do you think maybe it's based on a vocalise? It seems to jog my memory of playing Concone.
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MrClean
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| Posted: Sun Jun 07, 2020 6:21 pm Post subject: |
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Episode #77
https://youtu.be/gZRL0GhQMHg
Bread and butter orchestral-type sound and articulation. As always, striving for consistent centers and pop on articulation at varying dynamics and registers.
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Jim Wilt
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cgaiii
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| Posted: Sun Jun 07, 2020 7:06 pm Post subject: |
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| MrClean wrote: | Episode #76
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If you ever find the composer, please let us know. That was really nice as Tpt_Guy said. Just fits your sound perfectly, or you sound fits it perfectly. A pleasure to listen to.
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cgaiii
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| Posted: Mon Jun 08, 2020 5:43 pm Post subject: |
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| MrClean wrote: | Episode #77
Bread and butter orchestral-type sound and articulation. |
And well executed as such and nicely musical. Very nice work.
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MrClean
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| Posted: Mon Jun 08, 2020 6:26 pm Post subject: |
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Episode #78
https://youtu.be/K_l7HjIkQ38
Like all Charlier etudes, he presents a variety of challenges here. The most notable one is endurance (at least for me), and being able to execute when you just want to put the horn down and grab a beer. I should have taken a bigger breath right before the last section, because the one I grabbed on the last line sort of ruined the momentum going into the finish. Would have been an excellent candidate for an edit.
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cgaiii
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| Posted: Tue Jun 09, 2020 5:32 pm Post subject: |
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That one wore me out just listening. A lot of the challenges of Charlier all rolled into one etude. I found your rhythmic choices, or perhaps I should say phrasal choices quite elucidating on this one, particularly in the double dotted part in the middle. The sense of it almost switches around from the beginning but works well. Thanks again.
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MrClean
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| Posted: Tue Jun 09, 2020 6:25 pm Post subject: |
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Episode #79
https://youtu.be/qmUEX0aUJ-k
This is a charming little etude from Phil. There's not a ton of technique to hide behind, so my goal was to try to make every note perfect which is not easy. Trying to find a stately pace was a bit of a challenge, because my tendency is to hurry things along to try to create interest. Grace notes on top-of-staff G# cannot be taken for granted. My (slow) 16ths get a bit uneven on the last line, but that's just bad fingers making their appearance.
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cgaiii
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| Posted: Wed Jun 10, 2020 8:15 am Post subject: |
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Very fine Jim. Your bad fingers are a lot of people's good fingers.
I found your choice of tone and emphasis in the latter part of the second section of the etude to be interesting. From the title, I would have not thought of going after it like that. I would have stuck to a lighter approach. Was there something there that made you choose that route, some instruction?
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MrClean
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| Posted: Wed Jun 10, 2020 9:57 am Post subject: |
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| cgaiii wrote: | Very fine Jim. Your bad fingers are a lot of people's good fingers.
I found your choice of tone and emphasis in the latter part of the second section of the etude to be interesting. From the title, I would have not thought of going after it like that. I would have stuck to a lighter approach. Was there something there that made you choose that route, some instruction? |
That's a fair question. The indication at the beginning is Tempo di minuet, Grazioso. I took that to mean I needed some rhythmic/tempo restraint, and to impart a smooth, refined quality, though not necessarily light (unless you're trying to play it in a classical style, ala Haydn, for instance). If you look at the etude, the last three lines begin at mf immediately following the pianissimo high A. There is a crescendo in the 2nd to last line, presumably to forte. The last measure of that line is marked stendando, with accents and a crescendo leading up to the high B. There is a slight relaxing of the dynamic following that B, with a crescendo on the fermata suggesting a strong, authoritative ending. I admit I am trying to somewhat exaggerate dynamic contrasts to make them clear, because in some of my earlier etudes, everything sounded like it was between mp and mf, so that could be part of it, too.
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cgaiii
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| Posted: Wed Jun 10, 2020 10:32 am Post subject: |
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Thank you for the detailed answer.
Since I did not have the music, I was not privy to the markings. Makes sense and very interesting. I guess I was thinking more of a baroque approach or perhaps even a classical approach, but I see where you are taking it. Very nice.
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MrClean
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| Posted: Wed Jun 10, 2020 6:49 pm Post subject: |
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Episode #80
https://youtu.be/2-pQCQq79i0
My usual nemesis at play: response on low soft passages, coupled with a very large bore Bb. The recap was particularly challenging for me, to keep it fluid without air-balling.
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Last edited by MrClean on Thu Jun 11, 2020 10:04 pm; edited 1 time in total |
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MrClean
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| Posted: Thu Jun 11, 2020 6:34 pm Post subject: |
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Episode #81
https://youtu.be/UiqABiAlSEQ
Typical Bousquet - fingers and leaps. I also decided to try this on my Getzen cornet - I'm not used to triggers instead of slide saddles, so that was a bit awkward. This is the first video on the new recording gear, so the sound is going to be all over the map starting today as I try to find the sweet spot.
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Jim Wilt
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krell1960
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| Posted: Thu Jun 11, 2020 6:45 pm Post subject: |
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| MrClean wrote: | Episode #81
https://youtu.be/UiqABiAlSEQ
Typical Bousquet - fingers and leaps. I also decided to try this on my Getzen cornet - I'm not used to triggers instead of slide saddles, so that was a bit awkward. This is the first video on the new recording gear, so the sound is going to be all over the map starting today as I try to find the sweet spot. |
Sweet sound on cornet Jim !!
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cgaiii
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| Posted: Thu Jun 11, 2020 7:08 pm Post subject: |
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Enjoyed this episode (80) as usual. Like that Bb sound you get, so it is worth it!
Thanks for putting up with the large bore horn to give that sound.
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cgaiii
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| Posted: Thu Jun 11, 2020 7:16 pm Post subject: |
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| MrClean wrote: | | Episode #81
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I usually only listen to one per day, but the mention of the cornet made me violate my rule.
I really enjoyed the way you played with the articulation in the second half of this one. Sounded like you were having fun with it, or perhaps you were just having fun with the horn.
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MrClean
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| Posted: Fri Jun 12, 2020 7:35 pm Post subject: |
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Episode #82
https://youtu.be/M4KmIMxv7Lo
I use Brandt quite a bit to work on orchestral sound and articulation - this is no exception. Trying to maintain good pitch clarity, demonstrate dynamic contrasts and navigate large leaps securely are the major challenges for me in this one.
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MrClean
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| Posted: Sat Jun 13, 2020 6:15 pm Post subject: |
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Episode #83
https://youtu.be/gyNdn33Xxis
It's been a very long time since I've played these. Primary challenges included endurance, fingers, and weird slur patterns (I tried to honor as many as I could). As before, I struggle a bit with the valve slide triggers - just feels very unnatural. I will try to do a few more of these in the coming weeks.
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Jim Wilt
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cgaiii
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| Posted: Sat Jun 13, 2020 7:32 pm Post subject: |
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| MrClean wrote: | Episode #82
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Particularly liked the way you chose to end this one with a delicate touch after all the flourish. Very nice handling of all the rhythmic switches and leaps and bounds.
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MrClean
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| Posted: Sun Jun 14, 2020 6:10 pm Post subject: |
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Episode #84
https://youtu.be/B7dkQJ_W8s8
The biggest challenge for me was to land the leaps,some of which were two octaves, and to not "open up too much" while reaching for the bottom, because I had to turn right around and go back up. Also, trying to keep a very energetic, buoyant articulation despite the "distraction" of the intervallic leaps. Most of it was pretty good, though there are a couple of notes that got a bit cheated.
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