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Posted

Wow, that's weird...2/3 etudes for clarinet auditions this year were from my freshman year (2003-2004) as well. I guess TMEA really DOES repeat etudes, after all.

 

Anyway, good luck to everyone this year!

I, on the other hand, need to practice for my Symphony Band audition for this semester...the key word being NEED lol

  • 1 month later...
Posted
  Dontforgettobreathe said:
Are you kidding me? The Euphonium music is a joke this year.

 

It sure is. Two super slow movements and a repetitive piece with like 2 hard measures. Basically you must play it absolutely perfect to be better than someone. my region isnt so hard for euphonium though. I switched from trumpet last summer and still made region that fall. but i liked the music last year. arban is great

Posted

I have a music theory question. I'm playing in a key where the F is sharped. There's a note that is a Natural, Sharped F. Meaning there is a natural sign then a sharp sign before the f note, kind of like a double flat.

 

My thought is it does nothing, since the natural makes in an accidental, but then the sharp brings it back to the same key. Which gets me thinking, whats the point of the natural sign?

 

And no im not thinking of a natural and sharp sign in front of two F's in the same measure, I mean they come before the exact same F.

Posted

I'm almost positive your assumption is correct. You probably have a part where the writer/arranger had a very orthodox way of notating. My guess is the note that has the "naturalized double sharp" is within a pattern that's written in a harmonic or melodic minor key, except that the note in question is modulating to a different key, so it's lowering the F## down a half step to just F# thus turning the second sharp into just a natural sign. Double flats/sharps exist in music where composers insist on using a standard notation that adheres to whatever key they're in. Instead of being "normal" and writing it as just "F#" they're probably just notating it that way with the accidental to let you know that you're playing in that melodic or harmonic minor key and that that particular note is modulating to something else (probably the natural minor but who knows? ^^). That's my bet..,though I slept through most of my theory classes, you might want to get a second opinion, haha :lol: .

Posted
  treyj said:
same with the saxophone etudes

 

True. Im already in what I like to call "Cleaning mode" on the first two. Last year I did bass clarinet instead of Tenor, and I wasn't this far in until November. Of course this could also mean im a better player :P. The third one has some awkward finger movements though. At least I find them weird.

Posted
  rpd said:
True. Im already in what I like to call "Cleaning mode" on the first two. Last year I did bass clarinet instead of Tenor, and I wasn't this far in until November. Of course this could also mean im a better player :P. The third one has some awkward finger movements though. At least I find them weird.

 

i really havn't looked at them too much.

 

our closer is harder than the region music, no kidding. so i've been practicing that hardcore.

 

hopefully ill get a chance to look at region a bit more soon

Posted
  b_sax_agent said:
two guys that made state said I could make it this year.

 

I just have to practice my butt off when I get home from florida...

 

 

anyone can make state...any year!

 

as cliche as it sounds its pretty true. It just depends on how much time you are willing to put into it

Posted
  rpd said:
I'm really enjoying the low clarinet music this year. I like the fact that its not just straight slurred 16th notes, there's still a lot of 16th notes but more articulation. And the ballad has great dynamic changes. I can actually make music out of this years pieces.

 

 

Yeah, the bass clarinet music this year is pretty interesting this year.

I especially love the third etude because of all the fingering challenges and all of the articulation that is required in the piece.

Right now im currently working it up to speed (around 85 at the moment on a good day) and playing it in big chunks.

I really wish that the slow piece for this year could have been in a minor key, because that way i get WAY more into it musically, but oh well. its fine the way it is. There are definitely less runs that reach into the altissimo range of the horn though, but that definitely does not make the piece any easier.

And well the fast piece... is just a fast piece. Moderately easy key with lots of jumps, which is cake on my resurfaced C* (mouthpiece) =]

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