Fantasy Pieces (Superior)

7/21/2019 Fantasy Pieces (Superior)

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The

characler

of

rhe

crolchd,

and

quaver

?aesaqeo,

eomeLímee

qhoeLly,

eomeLimee

martial,

devende

on

dynamic

contrasLe

and

on

holding the

rhyrhm

very

eLeady.

Thie will

aleo leave

a rot

of

time

for

the

semiquavere.

an

lhe

laet

line,focuE

your

eound

on

the

bottom

noLee

and

let

youí

ñngere

do

Lhe

work.

TractiEe

the

eimple

6/B

quaver

tune

at

firet,

wíthout

worrying

about

the

trípleLa.

wren you

can teel

the

ewing of

the mueic,

?racLiee

the

taerer

áecoraLione

eeparately.

\l'then

you

have

them

up

to

epeed,

aloi

them

into

their

Vlace.

Remember

the

jiqeaw

-

only

tackle

rhe

difficult

bite

ín

rhe

middle

when

you

underetand

the main

ehaVe.

ln eVíle

of

havinq oo rnany black

notes

thie

ie

not

a

very

tast

?íece

of

mueic.

Look

fíret

at the

dramatíc

bite

and wo*

out

the rhythme

be?ore

you

pick

up

your

inetrumení.

5ínq

them

to

youreelf

,

not

worrying

aboutr

the

notee yeL.

\A/hen you

come

elowly

to

vractise

the

arveqgioe

let

your

eyetake

in half

a

b

ar

aL

a

rime,

eo that you

recogniee

the

ehave

of

the

whore

group

before

playnq it.

Enjoy

Lhis qentle

tune,

ehaVe

it lownqly

and

imagíne

youreelf

guiding

the

lislener

in a

journey

rhrough

the different

keys.

f

ake no

accidenLale

for

granteá.

KeeV

an

open

throat

Nhrough

Lhe

big

uVward

leavs

aná

think

of

euVporlíng

the

rop

notee

from underneath

,

like

a

ping-Vong b

afl eupported

on

a

ier

of

water.

-fttetune

ie

etitl

lhere

in thetriVlete

-

letrhe

audience

hear

it.

Tracttee

coun,ínq

5e

and zs as

you

walk

elowfy

áown

:,;he

road,

seven

or

ñve

to

each

eleV,

unlil

they

are

ae

eaoy

to think

of

ae

6s, 4s

or Bs.

Ae

you

etuáy

lhe

píece before

you

et

art

to

VracEiee

ít, don't

be

af'raíd

tn make

liqht

Vencil

marke

wherethebeats

fall,if

you

needrr,o,then

rub

them

outwhen

theyhave

outlíved

their

ueefulneee.

v'lhere the

tune

íe

hidden

among

the

áemi-

eemiquavere,

bring

it

out by

warminq

and

lengthening

elightly

the

imporLant

noleo,

ae

well

as

by

Vlaying

rhem eli7htly

louder.

The

hardeat

?ieceo

to

learn

are not

always

Lhe

hardeet

ercnLually

to

vlay.

Work

out

the,rhynhmic

groupe,

ae before,

and

alwaye

eubdivide the

beat

in

your

mind

bEFoRE

reaching

the group

whích

neede

it.

For

example,

mentally

Eubdívide

each

crotche>

into

Lhree

flrom

the

be4inning

in prevaration

for

the

qrou?o

of

nine

and do

the

same

in bar

2.

ln

the

more

comvlexTe

and

fie

qive

each

note

voRE

e?ace

than

you

think

to

etarL

with.

lL

íe much

eaeiei

to

speed

u?

rhe qrou?,

than

to

elow

them down.

úy

vracLising

ín

ehorl,

overlapVing

eections

íl is

eaaier

Lo

remember the

accidenzale,

and

it

will

help

you

Lo

lhink

in grou?e rahher

than

in eíngle

no\es.

Above

all,

Etand back

an'd

look aL

the

overall

ehaVe.

fhie

ie a

elow,

romantic

Viece



the

mehanome

marke

are

for

quidance

only and neeá nc¡t

be at*ictly

obsaved

DEREK 5OURGEOIS

FanLaey

Tieceefor

Clarinelwere

wrilten

ae studieeln

be

playeá al

auditions

for

Lhe

National

Youth

orcheetra

of GreaL

briLaín, and

aa euch

they

were

deeigneá

to

exVlore noL

only

the technícal

achievement

of

the

candidaLee but

their

mueical

ímagination

and

oenee

of

ohaVe.

All good

eLudieE,

however

áifñcult,

are

piecee

of

mueíc

in :uheir

own right, and

succeee

in

performance

ie

meaeured

by how eaey

and

enjoyable

they eouná.

ln

writing

theee

Vractice

noíeo

my aim

íe to emooth

the

Vlayer e

Varh

to

hie

or

her mueical qoal.

To learn

a new

Viece,elarEinthe

armchair

wtrhouryour

inetrumenr.

Look ar

the

ehape

of rhe

mueic,

tte

tempo,

ite

Vuloe,

and

if

you

can eing tt. Get

an

idea,however

vaque

of what

it

wíll Eouná

like. lmagíne

you

are doínq a

jiqeaw

Vuzzle.

-ftte

firet

thinq

you

do

ie to look

at the whole

picture

and

find

the

@rner

píecee and

the edqee.

Only

after

that

do

you

fill

in

the Lricky

bite

ín

the

midále.

)orL

out

more

comVlexrhyfhmic

grou?ó,for

example,tsEFoRlyou

?raclice

them,

markíng aubáivisione

liqhtly with

a

Vencil

if

neceeeary.

vlhen

cominq

b

tackle

the

technicafly difficult

paseagee,

practiee

a

emall

qrcu?

of

notee

aL atíme,overlaVpinqtrhe

qrouVe,

and

Vractieethem

gLOWLy

and

nHytHt,¡tcALLY.

ll

doeen l matler

how

slow, ae

lonq

ae

youlry

to

practiee

wilhout

mietakes.

once

Lhe

ñngere

know

where

they

are goinq

the

speeá

will

come,

and you

can

Vut

the groups

togelher

in larger

uniLs.

?ractiEe alEo

wiLh

a full

eound;

not

only

wtll

rhis

?revent

bad

Vroduction

habite

develoVing

but

it

wíll

helV Lo

VrevenLLhe

exfra accenls

whích

can cree?

in

v,then

practieing

elowly.

Never

practiee

for

more

lhan

half an

hour

wilhot¡t

takinq a

break

of

at

leaet

ñve

minulee

-

the

brain

worke beLf,er

rhaT

way.

And

when yoú

come back

Lo

Lhe

Viece

the

nert day, don t

expect

to

find

everlrthing

ao you

brl

ir.

gome

thinge

will

have,eliVVed

away,

but

goinq

SLou/Ly

through

the

work

once again

will

brinq

them back and

will

implant

them

even

more ñrmly

in

your

long-term

memory.

Above

all

keeV

eiyhf of

the

overall

muaica)

pic\ure.

V,lhen

etruqgling

with a

?ascaqe,

etop

aná einq

it

now

and

again;

it will remíná you

af

what

you are

aiming

for. fhe

only reason, afiler

all,for

technical

VracLiee

ía

to

geL rid

of

the

obelaclee

LhaL

eland

beDween

ue and the mueic.





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Documents

Fantasy Pieces (Superior)