======================= Continuation from file Clarinetists.2 Section 3 of 3 ======================= This interview with Sidney Forrest is one of five interviews from a volume entitled, "The Seasoned Clarinetist". A complete bundle of these interviews with Anthony Gigliotti, Stan Hasty, Stan Drucker and Robert Marcellus is avalable from James Gholson, Prof. at Memphis State and Clarinet Principal of the Memphis Symphony. #293 Music Dept., MSU ,Memphis ,TN. 38152. e-mail: gholsonj@memstvx1.memst.edu tele: 901-678-3793 30 J. G.: How do you teach legato fingerings? S. F.: Ah, simply to start with. I would start with say "F" on the first space and go down the F major scale and divide that scale into half notes like this: "one, two and one two." After the second beat the second beat you raise the finger and bring it down, but then you do it absolutely without a stop into the tone hole. The "and" is the preparatory motion of the finger--some would say a leverage. So I would do that way. And then we start on "E, two lift "D", then "D" two lift "C". Then I would do it this way: I would start again on "F"--"F" two lift "E", "F" two lift "D". Then we do that later on at the twelfth, which is high "C" and is more difficult. Does that answer your question? And when a student does this, and I mention this as a negative approach, this is what happens. "One, two, lift, then plunk." Then it is brought back to the same point from which it started. Then that is useless--why bring it back in the first place? But not opening up like a great big flower. Some people lift their fingers, very much exaggerated, and then bring them down. J. G.: Well, how much is enough? S. F.: Sort of open the hand a little bit, don't straighten it out so that the finger goes straight out. There again, it depends on the person. I watch as they do it! But not way out, because that is actually a loss of energy and it exaggerates, and can actually work in a detrimental way. Counterproductive. J. G.: What is measured rubato and how do you teach that? 31 S. F.: Well, rubato means to rob from one note and give to another. In other words, you shorten one note, and the value that you rob you give to another. That's where rubato comes from, "to rob." It comes out in the style of the piece that you are playing. What are saying, of course, is like a theoretical, mathematical problem, the conductor would conduct straight and you would take time and arrive two or three measures later at the same spot. A measured rubato could be, for instance, where the composer writes that way--like a metrical modulation--written out ritard or accelerando. J. G.: What about "coq_d'or"? Is there any way to practice that as it should sound with the metronome? S. F.: Well, I think you are better off if you play it metronomically after the third group. Stick to the beat at about l20 for four notes. Then in the end then you ritard. But the actual descending line, straight. If you make a slight accelerando, you are going to fall flat on your face! That is bound to happen. And the effect is just fine. Straight and then towards the end you make a slight ritard. All this is easier said than done! I must say! There are many, many ways to practice that. J. G.: When do you practice and how often? S. F.: Ideally, the best time of day is to practice in the morning because of the time of day. You get much more out of your practice in the morning. And you ask how often; it should be every day, just like you have to wash your face, brush your teeth, eat your breakfast, and so on, it's another fundamental that has to be done every day. If you 32 are playing rehearsals, in an orchestra, part of that can be counted as practice. What I tell my students is that a serious student has to practice three hours a day, a minimum. And that all does not have to be playing actually. Some of that can be studying music. Sometimes, not enough of that is done. If everything is done on the instrument, that is not very good practice, I don't think. You have to study the music and find out what the composer is aiming at. How do I make this sound musical and so forth? What is the period style? How do I phrase this? Not only on the instrument, but with the mind itself. Not always blowing on the instrument. That is not done enough, I don't think. J. G.: Do you use the metronome in your personal practice? S. F.: At times, sure. I'm not ashamed of that, absolutely. At times but not exclusively; and I tell the same thing to my students. They must use the metronome. At times for the rhythm and other times for the tempo, for the exact speed. Because the speed depends on how one person feels, the weather, the mood of a person. But the rhythm should be ironbound generally, unless you are playing kitchen music, or game music or cadenzas, which are interpreted different ways. But the metronome is a tremendous help. J. G.: What importance do you assign to throat posture and vowel sounds to achieve your concept of sound? S. F.: Very important. That is where you get your flexibility there in the throat. Especially conscious of the high notes. Generally the throat should be open, not tense, relaxed. Especially, one has to 33 be conscious of the throat position for the high register, to get the high notes produced, first of all, and to get them in tune. I use the vowel "ee" generally. But you must be careful because you might be closing up the throat. The throat must be open and relaxed with the vowel "ee". In the lower register, it is "oo" or a combination of "oo" and "ee," "eur." And then real low we have "ah" and in that position you must open, basically an "ah," especially when you make big jumps. "Tah-ee"-- this makes a tremendous difference. Actually the glottis comes into play. The glottis helps nudge the note up or down. We could go on about this--position of the mouth. Vowels are very important. J. G.: To what extent do you employ styles of vibrato? S. F.: Just in a singing style, to emote a little bit, but nothing conscious. I am of the school that thinks the clarinet has il