Klarinet Archive - Posting 000243.txt from 1996/03

From: Stan Geidel
Subj: Re: clarinet tone in orchestras
Date: Fri, 8 Mar 1996 15:04:01 -0500

I add my agreement to David's comments, and some additional
thoughts. Not only are we too obsessed with the technical aspects
of playing, but with tone quality as well. To me, there are
two things you absolutely *need* to play the clarinet professionally.
They are: (1) excellent intonation, and (2) a keen sense of rhythm.
There are many fine young players who have a "beautiful" sound,
and many many more who have flawless technical ability. But,
to make the transition from "fine clarinetist" to "outstanding musician"
you *must* play in tune, and you *must* have excellent rhythm.
You cannot function professionally without these two ingredients.
Then the final transition--from "outstanding player" to "great
player" comes when you learn to make music.

There is an interesting phenomenon that occurs in orchestras...
when you truly play in tune with your section, not only does the
section sound better, but you, as an individual, will tend to
sound better as well. An audience's overall aural perceptions are
enhanced by excellent intonation, and the perception of your sound
is enhanced as well. You might be tempted to say, "How can that
be? Sound is sound. I sound the same whether I play in tune or
out of tune." Not true!! The phenomenon of perception is
complex and multi-faceted, and is influenced by many factors.
Among the most important of these factors is *context*. A major
factor in context is intonation. Audiences hear you primarily
in the context of intonation and rhythm. If these two elements
are in place, you will sound better. Your individual sound
will be enhanced by the group context.

One other point. In my opinion, most musicians who
do not play clarinet have a much wider range
of what they consider "beautiful" clarinet sound
than clarinet players do. To put it another way,
non-clarinetists tend to like many clarinet
sounds; clarinet players often tend to like a *specific*
clarinet sound. Audiences have a _very_ wide range of
what they consider beautiful clarinet sound. Think of
what you consider beautiful violin sound. Is there only
one specific violin sound that you like? Or, do you think
of many violinists as having an attractive sound?
Can we even name the specific elements of violin sound that
a *violinist* would call important? Most likely we can't.
So, when we listen to a violinist, we make a basic
judgment...either a violinist has an attractive sound,
or doesn't. People make this same basic judgment about
a clarinet sound...it is either attractive or it isn't.
But, to the vast majority of listeners, there are many
many attractive clarinet sounds. The specific sound you
have on the clarinet is not primary in the listener's
evaluation of whether or not you are a fine player.
What is primary is intonation and rhythm. If these
elements are there, you sound good.

Closing points...

1. Very rarely will a conductor stop an orchestra to
ask the clarinet player for a more beautiful sound.
That same conductor will stop in an instant if
you are out of tune or out of rhythm.

2. Have you ever had the experience of hearing
a clarinet player whose sound you really did not
like at all...only to have a respected colleague
say to you, "Didn't that clarinet player have a
nice sound?"

3. Intonation and rhythm are what separates the
best from the good. A beautiful sound will
sound bad if out of tune. If you play out
of time, people will not even hear your
beautiful sound...they will simply hear that
you can't play in time.

I'm off the soapbox. Your turn.

----------------------------------------
Dr. Stan Geidel
sgeidel@-----.net
Muncie, Indiana

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