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This is how all high school Clarinet sections are.

Clarinet 1, 2, and 3 all play as separate sections. The Clarinet 1 section always has all of the try hards on that row. They can never really play together with each other because they are always trying to show that they can play their parts better than all of us sitting behind them. Whenever there is a really technical part (With lots of INK! LOL!) they are the ones who are NEVER afraid to try it, while playing confidently at full volume. Basically these are the only players you can hear out of the entire section for most of the piece. The Clarinet 2 and 3 sections are more unified than the first. We are the players that sit behind and we are the first to be ok with not knowing how to play our part and pulling our clarinets down and letting the firsts handle those difficult parts. The ONLY thing these two rows can do better than first is stay playing together. This is because before even discussing, it is understood that when it comes to the difficult parts we all collectively REST. while they continue. You can never hear us when we are playing by ourselves, and you won't ever hear us playing over the Clarinet 1 row like we are supposed to, because we are always unsure of how our parts are supposed to sound.

Reached composers block

So, you know how I have been working on the 50 follower special composition right? Well, I am 2/3 of the way through it and even include a short bit of canon in the composition. But after this canonic moment, I can't seem to make further progress. I know that I want to go back to G major by means of a plagal cadence(which would require me to substitute C major for C#°) and that I want to end the piece with a plagal cadence.

I have been having this composers block for about a week now. I usually embrace it and just move on to composing something else, but this is a 50 follower special composition that I have been working on.

Need help hitting notes consistently.

So, I can hit a wide range of notes with fairly good tone, but my issue is pitch. I tend to mess up which note I hit. For example, in 4th position playing a D instead of a G. Or playing a high Bb in first instead of an F. Sometimes I don't even realize I'm playing notes too high [usually can tell if it's too low unless it's an F, E or Eb] and end up practicing the wrong notes. I had this issue more this past year because I was first chair in our less-than-spectacular band [we're separated into two bands in my school] and I didn't really have someone to learn off of. I've been trying scales and everything but nothing seems to be working well. This is kind of a big issue for me because I'm basically guaranteed a spot in our better band next year and I want to be on top of my game this time instead of embarrassing myself or relying on someone else. Not to mention I'm joining jazz band...

Need help finding solo piece for Flute!

Hey all! I'm going to audition for my local junior orchestra in the fall, and need some advice... here are the requirements:

  • A solo or piece of your choosing that fully demonstrates your finest playing, such as a piece you are working on in lessons or a piece you performed with your school
  • A classical concerto for your instrument of your choice
  • Major scales and arpeggios up to four flats and sharps
  • Melodic minor scales and arpeggios up to four sharps and flats
  • Sight-reading


I have the last four down, I just need help finding a solo piece. If any of you have any suggestions, i'm in need!

~Patronus_1

Help needed from flutists/flautists(?)

Hi, I was wondering, are there any flute players that have Mark Karen’s ‘The Flute Etudes’ book? I’m trying to help out a friend after hearing that the flute etudes used by TMEA are among some of the hardest. I know that most of them that were selected by the author are in public domain, but I don’t know which ones. If you could tell me which etudes are used in the book, that’d be greatly appreciated.

Infamous 16th note Passages & Band Excerpts

I wanna know some lists of pieces that you all have played during your time in Band in School, and What are some pieces that you all have played with some of the most Infamous straight 16th note runs that last for more than 16 Bars in the Woodwind Parts in Band Pieces? I have one to start it off and it's Metroplex by Robert Sheldon, has anyone ever played this piece or anything just as bad like it?

Saxophones - The Traitors

A long time ago, there were peace between the woodwinds and the brass. No one disturbed one another, no one interacted with the other. It was until a clarinet got rich and married a trumpet. This was how the saxophones were created, - those disgusting brass clarinets, who once were part of us, but now are part of our past.