Klarinet Archive - Posting 000783.txt from 1997/07

From: Sherman Friedland <sherman@-----.ca>
Subj: Re: klarinet-digest V1 #104 Beta Blockers
Date: Thu, 24 Jul 1997 22:43:52 -0400

>what Mark said: Interlochen may not allow you to take it.
>I hope you can conquer your stage fright problem; it sounds serious.
>Carol
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 14:19:26 -0400 (EDT)
>From: YeomanHuff@-----.com
>Subject: Re: Pinkies and curved fingers (dumb response, you may delete :)
>
>In a message dated 97-07-22 17:36:48 EDT, scarfinv@-----.net (Virginia
>Scarfino) writes:
>
><< It only took about 2 weeks however, to get this problem corrected. >>
>
>Geez... my last pinky held out for two years before I got the little bugger
>in the right shape.
>
>Teri Herel.
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 13:31:39 -0500
>From: James Sclater <Sclater@-----.edu>
>Subject: Re: Rick's music offer
>
>Dear Folks,
>Rick Sowash asked me to put this notice on the list since he was having
>trouble with the mail delivery system. Any replies should go directly to him.
>
>JSS
>
>COMPOSER OFFERS NEW CLAR. SCORE
>
>Klarinet, Hello again!
>
>Please believe: This offer is not about money. I write music in hopes of
>making friends, not money. (Luckily, I earn enough as an author.) The
>friends
>I most want to make are serious musicians who will enjoy my scores and want to
>explore more.
>
>I'm offering to send you -- for the cost of the photocopying & postage -- a
>newly available work.
>
>The sheet music is computer-notated, using Finale. Parts are photocopied
>2-sided on stiff paper and spiral-bound. Easy page-turns. Music requires
>good
>musicians, but not virtuosos.
>
>Good tunes over tonal harmonies. Key signatures are used. Few meter changes.
>
>One critic said: "Distinctly American flavor."
>I say: "Derrierre garde, NOT avant garde!" ;-)
>
>
>ANECDOTES & REFLECTIONS: A PORTRAIT OF AMERICA
>
>for Bb clarinet, violin, cello and piano.
>
>I. Allegro - Klezmer, Slavic, Zorba-esque music evokes immigrant ancestors
>II. Moderato - homage to Gershwin, a son of immigrants
>III. Allegro - evokes American film score traditions
>IV. Larghetto - nature music: lush forests, running streams
>V. Lento - Old World pavane slides into "Swing" a` la Benny Goodman, then
>returns
>VI. Tempo di marcia - a pie-in-the-face award for John Philip Sousa
>
>41 minutes long altogether. But it can also be presented as three, separate,
>15-minute, two-movement works. That is, the First & Second movements can be
>offered as a single two-movement work. Same with the Third & Fourth, and the
>Fifth & Sixth movements.
>
>Cost: $22.04
>
>There is a splendid CD recording of this work. Gasparo Records GSCD-285
>"Chamber Music with Clarinet by Rick Sowash" played by The Mirecourt Trio and
>clarinetist Craig Olzenak. In addition to the "Anecdotes and Reflections" the
>CD also includes "Daweswood Suite" (also scored for clarinet, violin, cello
>and
>piano) and "Street Suite" (duo for violin and clarinet). Record store price
>is
>$14.99, but you can get it from me for $9.95.
>
>
>To order, please e-mail me at: 73563.3161@-----.com
>
>State your physical address and the sheet music and/or CD recording you want.
>I'll snail-mail your order to you with an invoice. If you don't like it (but
>I
>think you will), send it back and toss the invoice.
>
>More about me and my work is on my web site:
>http://www2.primax.com/users/~ricks/default.html
>Six of my works can be downloaded (free) there, including several for
>clarinet.
>
>Rick Sowash
>Cincinnati, OH
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 13:39:45 -0500 (CDT)
>From: reedman@-----.com
>Subject: Using Inderal
>
>Well now, here is an interesting subject and one that most professional
>musicians won't talk
>about!
>
>I use Inderal when I have an audition or an extremely important
>performance. I know many, many
>musicians in San Francisco that use it on a more regular basis than I do.
>I think that the use
>in major Symphony orchestras is much higher than you might expect. I don't
>think that it should
>be just taken indescriminately and ABSOLUTELY contact a doctor (preferably
>a psychiatrist) and
>discuss dosage and side effects. Please don't ever take someone else's
>prescription medicine!
>
>It was interesting to read the comments by Diane Karius who presumably has
>her degree in
>physiology and understands how beta blockers work. There are some side
>effects as she mentioned,
>but the dosage that most people would take is much lower than someone who
>is taking it for high
>blood pressure. I find that 5-10 mg two hours before performance is
>plenty. I have never noticed
>any side effects other than a general calming.
>
>My experience is that in small doses I just feel more focused and relaxed
>and thus really play
>the way I know I can play. In the past when I was nervous I would notice
>that my eyes would jump
>around the page and sometimes I would skip a line. Just THINKING about the
>possibility of this
>type of error kept me from focusing on making music.
>
>Nervousness is a part of performance for most people. You can learn to
>control it and focus it
>over time and with experience. But to categorically dismiss beta blockeres
>as a "crutch" or
>"cheating" is closing a door to a resource that could very positively
>change the course of a
>young performer's career.
>
>
>Clark W Fobes
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 14:34:27 -0500 (CDT)
>From: "Edwin V. Lacy" <el2@-----.edu>
>Subject: Re: Using Inderal
>
>Some physicians have told me that beta blockers can be very dangerous to
>diabetics. As I understand it, they can lower the blood pressure and slow
>the pulse so much in such people that it can result in coma or even death.
>And, many people are diabetic and don't know it. So, this would emphasize
>even more the necessity to take these drugs only under a physician's care
>and direction.
>
>Ed Lacy
>el2@-----.edu
>Most great professional musicians and concertizing soloists have to
>silence those little uncontrollable spasms that occur sometimes at the
>very beginning of a performance. This NOT stage fright. I have performed
>thousand of concerts, all the orchestral repertoire and solo rep. for the
>clarinet I love it on stage and the more you do it, the easier it becomes.
>Like if you go on a tour or play(perform) all the time, it gets really
>simple, but if you perform seldom, there is a bit of a battle that occurs
>within your system. These beta blockers are the greatest thing since
>sliced bread. I took them when my pressure went up so I was being
>medicated by a n mD, but I noticed the calming especially at the beginning
>of a concert almost immediately, and I will tell you that they do NOT make
>you short of saliva, but the dosage has to be correct. I do not think they
>can kill you, especially if you take only a very small amount, but the
>best thing is to see a reasonable MD who will be able to tell only after a
>few minutes if they will adversely effect you.Really, like a lot of
>things, these people do not go around telling everyone they take BBs, but
>look in their cases, and you will see them in most. And it matters not,
>the music is the music is the music, stop talking about BBs as if they are
>steroids, for they are not.Play the Neilsen on not enough sleep or
>practise, go ahead, I dare you. The one thing intolerable to audiences are
>mistakes, this caused by the perfect recordings around for the past 50
>years or so, therefore mistakes, which are not heard on records may not be
>heard in the hall.therefore BBs and lord only knows what else. Sherman
>Friedland
>------------------------------
>
>Date: Thu, 24 Jul 1997 16:01:17 -0400 (EDT)
>From: Gizl@-----.com
>Subject: Re: Major decisions
>
>Sarah,
> I don't envy you for having to make these"major decisions", but
>remember you CAN change your mind later.
> I personally would recommend going for the music education degree or a
>double major in ed. and performance. If you decide later that you definitely
>want to perform you can go on to get your masters degree in performance.
> My bachelor's degree is in music ed. I went to The Univ. of Iowa and
>they didn't have a double major in ed. and performance. However I did as
>much as or often more performing than many performance majors while still
>completing all of the education requirements. I have never regretted it.
> After teaching for a year I auditioned for "The President's Own" Marine
>Band in Washington, D.C. I have now been performing in the band for almost
>seven years, but I still teach privately and my education background has
>opened other doors for teaching at Catholic University.
> In the end if you want to perform you just need the tools and the
>dedication. When you take auditions it is your playing that counts. If they
>like what they hear, I doubt anyone will scoff at an education degree.
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 16:01:53 -0400 (EDT)
>From: Gizl@-----.com
>Subject: Re: Major decisions
>
>Sarah,
> I don't envy you for having to make these"major decisions", but
>remember you CAN change your mind later.
> I personally would recommend going for the music education degree or a
>double major in ed. and performance. If you decide later that you definitely
>want to perform you can go on to get your masters degree in performance.
> My bachelor's degree is in music ed. I went to The Univ. of Iowa and
>they didn't have a double major in ed. and performance. However I did as
>much as or often more performing than many performance majors while still
>completing all of the education requirements. I have never regretted it.
> After teaching for a year I auditioned for "The President's Own" Marine
>Band in Washington, D.C. I have now been performing in the band for almost
>seven years, but I still teach privately and my education background has
>opened other doors for teaching at Catholic University.
> In the end if you want to perform you just need the tools and the
>dedication. When you take auditions it is your playing that counts. If they
>like what they hear, I doubt anyone will scoff at an education degree.
> Best of luck to you.
>
> Liz Gish
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 15:16:52 -0500
>From: Robert and Deborah Shaw <theshaws@-----.net>
>Subject: Re: Inderal (sp?)
>
>dsalveso@-----.net wrote:
>>
>> Hello everyone,
>>
>> I'm an aspiring clarinetist with REALLY bad stage fright. I read
>> somewhere about a drug called Inderal (I think that's the name) that
>> suppresses the release of adrenalin (sp?) into your system. I also read
>> that is was used by a lot of musicians (I read all this in that book
>> "Piano Lessons: Music, Love and True Adventures" by Noah Adams (I'll sum
>> the book up for you: he spends his time trying to find the perfect piano
>> but neglects to play)). If it is not taboo to use this drug it would be
>> a big help to me. At every audition I've ever had my fingers shake,
>> followed by my diaphram, then my hands start
>> sweating and if I've
>> memorized a piece it falls apart every 20 or so measures. If I'm really
>> lucky I black out (that sure was an interesting piano recital I had).
>> I know
>> that
>> some purists might call using a drug cheating but if is simply allows you
>> to play without biological obstruction what can it hurt? Any discussion
>> on this drug would be helpful.
>>
>> Adios,
>>
>> Peter Salveson
>> dsalveso@-----.net
>Peter,
> I used to have "Really Bad Stage Fright" when I was young. But
>what I learned was that I really had "Not Enough Performance
>Experience". The solution was to perform at every opportunity, for
>anyone who would listen. I soon learned that I would not die or pass
>out if I made a small mistake and that most people (even trained
>musicians) do not hear the little things but listen to the overall
>effect of the music.
> I now am happy to say that I really enjoy performing and actually
>play my best in front of an audience (most of the time). The adrenalin
>can actually work for you.
> Hope this helps.
>
>Deborah
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 14:16:13 -0700 (MST)
>From: Jacqueline Eastwood <eastwooj@-----.EDU>
>Subject: Re: Inderal (sp?)
>
>On Thu, 24 Jul 1997, Diane Karius, Ph.D. wrote:
>
>> A couple things to consider: 1. It does not *prevent* stage
>> fright - it merely prevents many of the physical
>> symptoms associated with these anxieties. Since anxiety (in most
>> people) is increased by these physical symptoms, it makes sense that
>> it would help in that regard; 2. It has many side effects -
>> adrenalin does many things in the body (normally and during
>> fight/flight (stress) responses). Inderal blocks those effects
>> mediated by the beta receptors indiscriminantly - so there are many
>> physiological changes that will occur when the drug is taken. Along
>> those lines - it will lower your blood pressure. If you are standing
>> up for long periods, you may experience dizziness or even pass out
>> (especially if it is hot). (Based on the comment regarding the
>> experience of already having passed out during a recital - Inderal
>> may actually make that worse).
>
>> Diane R. Karius, Ph.D.
>> Department of Physiology
>> University of Health Sciences
>> 2105 Independence Ave.
>> Kansas City, MO 64124
>> email: dikarius@-----.EDU
>>
>What a great answer -- it's nice to have a couple of medicos on the list!
>
>My personal experience with Inderal (think of me what you will; I don't
>care!) is that I take the smallest available dose about an hour ahead of
>time. But it really depends what the performance is, too. If it's a
>fairly minor thing or I don't have a difficult or important part, I
>sometimes will go without and just try to deal with the occasional
>physical spazzing that happens to me. When I have an important solo or
>very technical part, the physical spazzing gets in the way of what I'm
>trying to do, so I take the Inderal. Needless to say, once or twice I've
>forgotten it, and my playing has suffered for it.
>
>Part of the problem, as Diane said, is that if you're worried about
>uncontrollable muscular tremors in your hands, fingers, arms, lips,
>diaphragm, etc. it adds to your anxiety. For me, this is pretty much the
>majority of my anxiety!! I'm fairly old, I sit in a dark pit for most of
>my gigs where no one can see me very well, and I don't often have "scary"
>parts to play. What do I have to be nervous about except the fact that I
>can't hold up my instrument or control the flow of my saliva because my
>body has gone into bizarre convulsions!
>
>Side effects for me are fairly mild -- my blood pressure does not drop
>noticeably (I've had it checked before and after), but I do sweat a lot
>(especially if the stage lights are hot) and my mouth gets dry. If you
>ever see a wind player biting his tongue (obviously not hard!), chances
>are this person takes Inderal -- tongue biting increases salivary output.
>
>Please don't take my information as a recommendation or endorsement; I
>simply think you should know as much as you can about it so you can make
>an informed decision.
>
>Aside to Mark -- I guess they used to have MAJOR drug problems at
>Interlochen -- I went to undergrad with 3 clarinetists who had been at
>school there and they were definitely not getting their meds at the
>office, if you know what I mean. I hope they have "cleaned up their act",
>so to speak.
>
>
>Jacqueline Eastwood
>University of Arizona/Arizona Opera Orchestra
>eastwooj@-----.edu
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 17:55:15 EDT
>From: licoricestick2@-----.com (A M)
>Subject: all this talk about cracking reminded me...
>
>I went to a camp a few weeks ago where was forced to play outside for
>every practice and performance. (And the music directors did not even
>think to tell us that in the final instruction letter, so I brought my
>Buffet.) It was very humid. And I was very angry because I brought my
>wood instrument instead of my plastic. All that aside, by the end of the
>week I noticed some little "cracks" in my clarinet (upper joint) but they
>aren't really cracks. Hard to describe. They're little places where the
>wood grain has separated. If they ARE cracks, they are itty-bitty things
>that don't affect anything. Will they go away as my clarinet "dries up",
>or will they be there forever? Does anyone know what I'm talking about?
>Is it something to be worrying about?
>
>- -------------------------------------
>LicoriceStick2@-----.com
>- -------------------------------------
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 18:11:24 -0400 (EDT)
>From: SusiPontow@-----.com
>Subject: Re: Major decisions
>
>In a message dated 97-07-23 23:42:54 EDT, you write:
>
><< I want to be a high school band director when I get out of
> school, >>
>
>Sarah,
>
>To the best of my knowledge, to be a high school band director you must have
>a music education degree or certification to teach. Many people decide to
>double major in performance and education. From what I can tell, a Bachelor
>of Music Performance isn't worth much, if anything at all, as far as finding
>a job is concerned, unless you go to a really great school with an intensive
>performance curriculum. As for myself, I triple majored in music
>performance, music education, and mathematics education at Indiana University
>of Pennsylvania, which is an excellent school for teacher education.
> However, because of financial straits I couldn't finish my student teaching
>this past spring as planned, so I just graduated with the performance degree.
> But I am sure that all of my education classes helped me immensely in my
>performance abilities. Many people that I have encountered believe that
>music education is the way to go for the undergraduate degree and then earn a
>graduate degree in performance. That way you have a more solid foundation
>with which to build your performance skills upon. I am definitely
>considering getting my second degree in education this year, because I
>believe having the degree will help me to attract private students, and it
>sound much better than saying I have 3 semesters of teaching experience at
>IUP University School, finished all the coursework for the degree, but don't
>have the degree because I didn't have a car and couldn't do my student
>teaching. I don't want to explain all of that, but I don't want to give the
>impression that I have only a performance degree when I do have all that
>experience. By the way, I have heard many excellent things about University
>of North Texas. Several students from IUP went there for graduate studies.
>
>I hope this helps you in your decision making.
>
>Take care,
>
>Susan
>
>SusiPontow@-----.com
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 19:14:16 -0400 (EDT)
>From: SusiPontow@-----.com
>Subject: Re: Major decisions
>
>In a message dated 97-07-24 13:43:25 EDT, you write:
>
><< I am a Doctoral Student at UNT >>
>
>Cheryl,
>
>Did you play in the Keystone Wind Ensemble?
>
>Susan
>
>SusiPontow@-----.com
>
>------------------------------
>
>Date: Thu, 24 Jul 1997 19:24:46 -0400 (EDT)
>From: SusiPontow@-----.com
>Subject: Re: Major Decisions.....after
>
>In a message dated 97-07-24 18:46:06 EDT, you write:
>
><< Madamoiselle Nadia Boulanger told me that the only way someone should
> consider performance was that they would rather be dead than not be a
> performer. >>
>
>This is interesting.... did she say that because a career in performance is
>such a struggle? I don't know if I agree with that statement, because I've
>met a violinist who said he had wanted to be a scientist, but felt that he
>wasn't good enough in math, he had some talent for the violin, graduated from
>Juilliard and has had a career in various ensembles including St. Paul
>chamber orchestra, Pittsburgh Symphony, Toronto symphony, winning some
>awards, etc. He seemed to be saying that he chose a career in music because
>that is where the money was for him, not because he truly wanted to do it
>over something else. I was disappointed when I found that it seems he
>doesn't share the same sort of passion as someone wanting to perform or be
>dead. I fall into the latter category.
>She said it, that is all. It was a different time and even questioning
>students and strong-willed students did not "disagree" with her. As far as
>I was concerned it was simply food for thought. What I believe she meant
>is perhaps not important, but I will tell you that I know of such a
>person, a wonderful concert pianist, Ilana Vered, who in my home after a
>solo concert said virtually the same thing, and she meant it. She would
>just as soon be dead as not be able to play. I believed her as well. This
>is not band director or second clarinet in some podunkian orchestra, these
>are people with incredible gifts, gifts like Mozart,or Chopin. There is a
>difference...something I have tried to tell my students all these years.
>We are craftsmen, sometimes great, sometimes not, but Boulanger or Lenny,
>or Copland, or Schubert, or a thousand others are different, they really
>are, they are the ones from God, a vessel placed upon the earth to show
>you and I beauty, when their vessel is empty they go, thats all. You
>listened to Boulanger, you did not question or deign to disagree. Are
>there people here now like her? I do not know, perhaps, dear susan,
>perhaps.
>------------------------------
>
>End of klarinet-digest V1 #104
>******************************

   
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