A Guide to Orchestral Second Clarinet Performance
The purpose of this research is to gain insight on different aspects of orchestral performance and ensemble skills from the perspective of the second clarinetist. Most of the existing literature related to orchestral clarinet performance focuses primarily on the audition process and the preparation...
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| Format: | Others |
| Language: | English English |
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Florida State University
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| Online Access: | http://purl.flvc.org/fsu/fd/FSU_2016SU_Glazier_fsu_0071E_13443 |
| Summary: | The purpose of this research is to gain insight on different aspects of orchestral performance and ensemble skills from the perspective of the second clarinetist. Most of the existing literature related to orchestral clarinet performance focuses primarily on the audition process and the preparation of principal clarinet excerpts. The aim of this study is to examine the proficiencies needed to perform effectively in an orchestral setting. The focus is primarily on second clarinet playing because it is particularly demanding in regards to ensemble skills. Through interviews with experts, this research examines the challenges involved in playing second clarinet in an orchestra, and the methods through which an orchestral musician can develop ensemble skills. All of the experts questioned have held a position with a major American symphony orchestra for a minimum of eight years. The experts were consulted about personal attitude and approach, balance, intonation, tone, articulation, preparation, collaboration, and other factors that exemplify excellent ensemble playing. Specific second clarinet excerpts were also addressed, particularly with advice on how to play them in the final round of an audition with a member of the orchestra. It is my goal to provide valuable information to help clarinetists and other musicians improve their ensemble skills, to assist teachers in passing on this expertise to their students, and to aid clarinetists seeking to win second clarinet auditions. === A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. === Summer Semester 2016. === July 8, 2016. === Includes bibliographical references. === Deborah Bish, Professor Directing Treatise; Steven N. Kelly, University Representative; Anne Hodges, Committee Member; Jonathan Holden, Committee Member. |
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