Klarinet Archive - Posting 000311.txt from 1995/06

From: David Gilman <dagilman@-----.EDU>
Subj: Re: Glissandos
Date: Thu, 15 Jun 1995 15:00:12 -0400

>I couldn't tell from Fred's message if he was joking about a player
>automatically finding the tongue/embouchure position by just doing it.
>I hope he was. There are times when these things (my experience with
>glissanos, for example) need to be expressed in words by our teachers.
>A lot of the people I spoke to when asking for advice on how to learn
>this technique couldn't explain it because they just "picked it up".
>I expressed this same concern about vibrato a few months ago.
>
>Some musicians seem to rely on instinct and natural ability fairly heavily.
>It may be helpful on stage, but not as a teaching technique. Teachers
>need to have the vocabulary to be able to describe, explain, and
>demonstrate any technique they expect their student to acquire. I have
>very strong feelings about this.
>
>Nichelle Crocker
>
>
Nichelle,

I couldn't agree more. The long glissando (a.k.a. portamento) is one of the
most difficult techniques to learn on clarinet. It needs to be explained
very clearly and with several alternative methods if it is to be learned by
most (myself included). I am especially grateful for any help in this area.
It pleased me tremendously when I saw the recent postings on it and on
double tonguing, for example.

The best teachers work very hard to articulate their ideas clearly. Mine is
quite good at this. But on those occasions when he's at a loss for words,
he demonstrates on the instrument. Whatever contributes to understanding
without intimidation, I support wholeheartedly.

David Gilman

   
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