Klarinet Archive - Posting 000828.txt from 1997/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: klarinet-digest V1 #339
Date: Tue, 21 Oct 1997 11:25:22 -0400

On Tue, 21 Oct 1997, Hat NYC 62 wrote:

> Date: Tue, 21 Oct 1997 10:20:26 EDT
> From: Hat NYC 62 <HatNYC62@-----.com>
> Reply-To: klarinet@-----.us
> To: klarinet@-----.us
> Subject: Re: klarinet-digest V1 #339
>
> <<....would an experienced, professional ever "...be caught..." penciling
> fingering cues above or below a rapid and complicated phrase where the
> figure could be played smoothly only by changing options?>>
>
> This is actually an excellent question. There is no single answer. Some
> professionals simply mark more things than others. Often, so much music must
> be played in a short time span that "idiot marks" are sometimes necessary. I
> don't think I have seen a Tchaikovsky 4 part where there wasn't a big "L"
> marked for the c in the staccato passage in the 2nd movement (those of you who
> know the part know where I mean).
>
> What is more certain is that professionals generally like to keep their parts
> written out, less so. . .no time to read them!
>
> To see the difference, go to a university library and look at the wind quintet
> parts.* What a mess! All kinds of junk scribbled in. Folks write in the
names
> of the other players for cues (instead of instrument names, which might help
> someone in the future). They'll write thing like LOUD! or SOFT! when the
> dynamics are already marked. These are things most professionals learn to live
> without doing. Does this answer the question at all?
>
*As a highly amateur player, I get this sort of thing all the time in
borrowed parts, even those from commercial libraries - often, the paper
is so fragile that one has to put with the scribble and ignore
it. THis means, of course, that I've come to put on as few markings of my
own as possible; after all, they might turn out to somebody else's at
concert time....
Roger Shilcock