"It's just about arriving with your body to that tone and not just putting the fingers down. You need to actually create the tone in your body." Sharon Kam
In this masterclass, the master demonstrates an enormous commitment to finding the correct sound and phrasing for this work. There are constant references to the traditional Spanish music, to the fanfare of the trumpets and a continuous search for a similar sound from the clarinet.
She gets really specific with the student, singing a large number of phrases, seeking not only the correct tuning but, mainly, those qualities that can bring the sound of the clarinet closer to the intentions of the composer, in a work that is in homage to the Spanish De Falla. In this way, she proposes to go against the common sense of what is usually learned on the clarinet (“make
the sound round, close up”) and proposes thinking in a “crazy Spanish trumpet (…) loud and explosive in a way”.
In this sense, there is a constant emphasis he places on the importance of arriving at the tone with the body, not just putting the fingers down: "You need to create the tone in your body"
- Sometimes, the pauses are the same; there is a need for them to be different.
- Knowing how to breathe is important
- Moving the fingers too quick will lead to not hearing all the notes
- It's not always the same kind of fermata. Sometimes they come early. Sometimes they surprise us.
- Pushing makes the sound not as grandiose as it would sound
- Musically, stress is not a bad thing
- It is funnier to play when the musician is more inventive with the non-squareness of the tempo
- The sound starts always with one place in the body and then comes down
- It's just about arriving with the body to that tone and not just putting the fingers down.