All-­‐State Notes: Low Clarinet By Maria Ortiz-­‐Laboy Graduate Assistant in Clarinet University of South Carolina Low Clarinet Audition Solo 3A: Andante appassionato / Animato Andante appassionato • Suggested breathing marks: -­‐ measure 4 after dotted half note -­‐ measure 6 after the tied eight note -­‐ measure 9 after the quartet note • From measure 2 to 3 keep the intensity until the diminuendo. • Don’t forget to put weight on the tenuto notes in bars 6-­‐10. • Keep the mezzo forte that begins in measure 9 until the end. Animato • Pay attention to the accents and metric changes, keeping the eighth note consistent. • Ending A -­‐ keep the forte from measure 30 to the end. • Ending B -­‐ create a dramatic dynamic contrast between the piano and forte in this section. Low Clarinet Audition Solo 2A: Sempre dolce / Allegro agitato Sempre dolce • The shape of these phrases should be an arch. The phrase should go toward the high point and then release it at the end of the phrasing slur. • A dark tone on this excerpt is highly recommended to create a better contrast between movements. • A slight ritardando at the end of this movement adds a nice touch. Allegro agitato • Clear accents at the the beginning. • Dynamic contrast between mezzo piano and fortissimo. • Short staccato articulation keeping air support and using the tip of the tongue to the tip of the reed. • Emphasis on the accents in measure 12 and measure 27. Low Clarinet Audition Solo 1A: Moderato grazioso Moderato grazioso • The long-­‐short-­‐long-­‐short articulation at the beginning should be clear; this makes the eighth notes last longer, or as long as, the staccato quarter notes. This also applies to the second-­‐to-­‐last bar of the excerpt. • Bouncy staccatos on measure 17 and 18. • On the pick up to both codas, blow into the open G (thinking of blowing into a small straw to speed the air), then keep the same air stream and dynamic to ease the speaking of the clarion G.