Here is the first in a series of interesting articles by percussion and piano duo, Passepartout, about their lives traveling and attending artist residencies without a home base. Chris and Nico are not only brilliant musicians, but also eloquent writers as well. This first article in their series can provide insight on their unique musical lifestyle. Click here to read their article.

Also watch Passepartout Duo perform.

Tips for Student Success

With a new term beginning I thought it would be a good idea to provide a few pointers for success during the term.

  • Write practise times directly into your class schedule. This way you know exactly when you practise each day.
  • Warm-up prior to you lessons and rehearsals. This will save time and allow for more time to focus on technique and repertoire.
  • Always practise with a mirror, tuner, and metronome.
  • Keep your reeds in rotation so you always have a good reed to play on. A bad reed can derail a lesson or practise session. See this article by Reiner Wehle on how to break in reeds. My motto: Life is too short to play on bad reeds!!!!!
  • Your warm-up is the most important part of your practise. A good warm-up should include long tones, scale technique, and articulation.
  • Organize your practise time. Practising should include a warm-up, etudes/studies, repertoire. Your practise time will vary depending on how much repertoire you are working on.
  • Set small achievable goals for your practise sessions.
  • Measure your practise time by tasks rather than time. Putting in multiples hours is useless if you don’t accomplish anything.
  • Listen to other clarinetists and see as many live concerts as possible of varying genres, styles, and ensembles.

Materials for Lessons

Students should have a music folder for their lessons, a notebook, and pencil. Each students should download and print the Clarinet Warm Up Materials and bring them to each lesson.

Additional study books that we will work from are:

How to conquer technically difficult passages

As clarinetists we often have to conquer difficult musical passages that have a lot of fast notes. This can seem like a daunting task but with determination, a plan, regular practice, and the right approach any passage can sound effortless. Here are some tips to mastering technically challenging music:

  1. The first course of action is to plan well in advance so that you have enough time to learn the music well. Panicked time crunched practice often yields poor results.
  2. Start slow! If you are making mistakes you are going too fast. Use your metronome to ensure you aren’t speeding up. Don’t be in a rush to play the passage up to tempo. My teacher in my undergrad use to say “It’s never too late for slow practice”. Slow practice allows you to learn the challenging passage without mistakes. It’s better to learn music slowly well, rather than learning it fast with a lot of mistakes.
  3. Focus on the sections you can’t do well. It’s easy to play what we can do well, but in the end the problem areas are the ones we should focus on.
  4. Distort the rhythm. If a passage is running 16th notes, practice in irregular  groups of 3, 5, 7. The emphasis will be in different places in the measure  forcing you to draw attention to different points in the passage.
  5. Play in short sections. If the difficult section is long, break it into small chunks. Master the small chucks slowly then merge the small chunks together. A chunk can be a 1 or 2 beats, a measure, or phrase.
  6. Learn the passage from back to front. Often times we want to play long sections of music which can be counter-productive to learning small chunks. If you start at the end of the passage you are forced to stop. Also working backwards allows you to learn the end well, which can often be neglected.
  7. Long-Short-Short-Short practice. If a passage has running 16th notes making one note in the grouping long helps you to focus on different parts of each beat. If the passage is in groups of 4 16th notes, practice it quarter, triplet; quarter triplet moving the quarter note to the first, second, third, and fourth notes of the grouping.
  8. Have anchors. In running 16th note passages have anchors or goal notes at key points during the passage. These are points of emphasis often at the beginning of a phrase, measure, or a high or low note in the passage. I often mark them with a tenuto or accent in parenthesis.
  9. Think of ways to make the passage more difficult than it is and practice in this way. When you play it the way it is written it will be easier.