Klarinet Archive - Posting 000211.txt from 1997/06

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: Copland and Poulenc
Date: Mon, 16 Jun 1997 04:01:10 -0400

As the Poulenc sonata is one of the few pieces I have actually studied
with a teacher, I'm puzzled too. Not a word was said on this. Perhaps
"alternative fingerings" means different things to different people.
Roger Shilcock

On Sun, 15 Jun 1997, Fred wrote:

> Date: Sun, 15 Jun 1997 22:12:28 -0400
> From: Fred <fsheim@-----.com>
> Reply-To: klarinet@-----.us
> To: klarinet@-----.us
> Subject: Re: Copland and Poulenc
>
> I am curious as to where you feel that you need to use "alternate"
> fingerings in this work.
> Fred (fsheim@-----.com)
>
> >I played the Poulenc last year. Great piece. My main tip on this piece is
> >work alot with alternate fingerings. It has a lot of strange passages that
> >alternate fingerings would be the best selection and also see what works best
> >with you in regards to fingerings...experiment alot with them... I am
> >currently working on the Copland as well. My professor told me to use some
> >vibrato in the beginning slow part. Because I play flute I was under the
> >wrong impression to use a diaphram vibrato but instead a lip vibrato should
> >be used on the clarinet. I would like to hear others opinions on this as
> >well but this is what I was instructed to do. Lip vibrato is acheived by a
> >bend in the note caused by the lip. That's about the only advice I have to
> >offer on this piece since I am currently working on it as well. Good luck..
> >It would be great to hear from everyone else regarding advice on these
> >pieces....
> >Noelle
> >
> >
>
>