yesterday was the first installment in the complete guide to self-recording, a process that i found essential to preparing to record the album and also audition preparation. while yesterday was about the basic concept of why and how to record yourself, today is about gear.
inside you can find an in-depth presentation on self-recording. today's installment is about the concept and philosophy of using recording in audition prep. this summer, i developed this clinic on self recording for students at aspen music festival, juilliard, and buti. a few years earlier, i gave a class that was a full audition preparation tutorial, and it touched on the three major phases of audition prep: learning the notes, recording, and mock auditions. because i had just finished recording the delécluse album a few months earlier, recording was on my mind, so i wrote an in-depth presentation on self-recording.
didier vérité is many things: a percussionist in the paris opera, a student and scholar of delécluse and french snare drum, a fisherman, a teacher, an amateur apple cider brewer, a pet bird owner, and so much more.
delécluse starter stickings includes the answer to every sticking question that you might have. i’ve incorporated these things into the sticking overlays:
today is day 3 in the #12days of delécluse. yesterday, i answered the question, "why record delécluse: douze études?" today, we hear from paris opera orchestra percussionist jb leclére. i'm also posting étude 3, which will be up for 24 hours. here are the three études currently up on youtube:
let’s all get one thing out of the way - you’re not going to turn on delécluse: étude 2 for snare drum for your grandma while she’s reading your little sister a bedtime story. no. it’s not even something that traditional classical music listeners might particularly seek out… it is, however, something that a large, dedicated group of percussionists are absolutely devoted to learning, performing and perfecting. in fact, the delécluse: douze études are our shared experience as percussionists - everyone finds them, struggles with them, auditions with them, and learns something about themselves along the way.
welcome to the 12 days of delécluse, in which we count down to the official release of delécluse: douze études for snare drum on october 26th. think 12 days of christmas, but more french-classical and less santa claus.
each day i'll release one new étude on youtube, along with an accompanying article, interview, product, or other piece of content. the catch? each video is only up for 24 hours. today is day 1.
if you try to guess what tempo an audition panel wants to hear, you're shooting in the dark. even if you think you know what an orchestra wants to hear, how they play it, or how a certain person on the panel expects a piece to be performed, you're still guessing. instead of trying to second-guess the panel, use math. choose a tempo for your excerpt or solo based on a mathematical combination of all the reputable recordings you can find.
while practicing for an extended period of time, i've often experience a phenomenon of ever-increasing boredom. my ability to clearly think through problems and solutions is significantly affected by the amount of time my brain has been engaged. after about a half hour of focused work, i get super-bored. i think it's a reasonable assumption that i'm not alone in this experience.
you know when you walk to 7 bars in a row and have one drink in each bar? that's called a bar crawl. what i did was like that, except instead of walking down amsterdam avenue in new york city, i traveled around the french countryside on trains and rental cars. and instead of drinking, i interviewed the greatest scholars of french snare drum on earth. even better. hence... the caisse-claire crawl.