Klarinet Archive - Posting 001067.txt from 1997/10
From: HatNYC62@-----.com
Subj: Re: klarinet-digest V1 #352
Date: Sun, 26 Oct 1997 01:14:46 -0400
In a message dated 10/26/97 12:17:45 AM, you wrote:
<<
klarinet-digest Saturday, October 25 1997 Volume 01 : Number 352
Re: bad tone
Re: bad tone
Re: Buffet Festivals
Thanks
Re: klarinet-digest V1 #350
Re: what I have to teach
Re: bad tone
selmer
Finale 97
Re: broken needle spring question
Re: Buffet Festivals
Re: Buffet Festivals
Re: bad tone
Re: bad tone
Re: bad tone
Re: Firebird
bass clarinets
Re: bad tone
Re: Buffet Festivals
Re: what I have to teach
----------------------------------------------------------------------
Date: Sat, 25 Oct 1997 19:42:02 -0500 (CDT)
From: Roger Garrett <rgarrett@-----.edu>
Subject: Re: bad tone
Wow...I wonder if he did anything but sit at his computer? How
about.....bring someone to the school? How about deal with the student
after attending a couple of lessons with an expert.
Too simple.
Roger Garrett
On Sat, 25 Oct 1997, Edwin V. Lacy wrote:
> On Sat, 25 Oct 1997, Roger Garrett wrote:
>
> > The teacher's interest is admirable......he or she is probably a very
fine
> > person........I wonder if he or she has asked a clarinetist what might be
> > the problem and worked it out with the student??
>
> Well, yes, he did. In fact, he asked several hundred of them, all of whom
> are subscribers to the KLARINET list.
>
> Ed Lacy
> el2@-----.edu
>
>
------------------------------
Date: Sat, 25 Oct 1997 20:40:49 -0400 (EDT)
From: NETSKE@-----.com
Subject: Re: bad tone
Hello again.
I did not want to upset people when I made my statement. I was merely
stating my son's and my own personal experiences, and also my humble
opinions. Some of you took my message too personally and fired back
negatively about what I said. r schools
want to do a good job and care about the students. Teaching is not easy, nor
does it pay well. I have seen both sides of the teaching situation in school
music programs.
Great teachers in the elementry to high school level exist, but in most
cases, money is the deciding factor. The private institutions can draw in
professional teachers/performers do be on their staff because of funding,
facilities, bonuses, packages, etc. Most schools cannot afford to hire a
professional, high-level staff to develop a music program. The teachers
hired in most public schools just fit the bill, so to speak. They have a
music degree, usually a masters or higher - that is the only requirement.
There are alot of people out in the world with degrees and they do not know
about their specialty. As we all know, you do not have to be a genius to
graduate from college! Anyway, I should not have to defend my opinions
because they are just that, MY OPINIONS! I am not a one to assume anything
about someone else without knowing something about them. I was not attacking
that person who wrote the "bad tone" message, I was relating my experiences
about someone I personally dealt with. Thanks again.
------------------------------
Date: Sat, 25 Oct 1997 17:46:54 -0700
From: Gary_VanCott@-----.com
Subject: Re: Buffet Festivals
Gary VanCott=NHIN
10/25/97 05:46 PM
To me, the confusion about the Buffet Festivals is just another symptom of
the mystery marketing at Buffet (Boosey & Hawkes). That is assuming they
have a marketing department at all. :-)
Gary Van Cott
Las Vegas, NV
------------------------------
Date: Sat, 25 Oct 1997 20:15:54 -0500 (CDT)
From: pmedina@-----.net
Subject: Thanks
My thanks to Ed Lacy for his response and the others who were helpful. I
thought I was asking a simple question of some colleagues.
I have played clarinet for 23 years and taught in public schools for 10. I
am very proficient on every band instrument(I just choose not to play oboe
that much). I do demonstarte tone production on all the instruments and am
currently playing french horn in a community because there are 16 clarinet
players and only one horn player. I performed in last years concert with my
beginner trombone section on trombone and used to go to a saxophone camp
every summer(I knew sax had to sound good at some point!) My tuba players
love to challenge me. Sometimes I win, sometimes they win. But they enjoy
the challenge. My trumpet players can't understand how I can play so loud
with a controlled sound. As any drummer will tell you, my rolls could use
some work.
I do attempt to be part of the solution. When I feel I am overwhelmed, I
turn to others for info as I have done here. Thanks for the input and
technical advice for those who offered.
Pat
------------------------------
Date: Sat, 25 Oct 1997 20:23:54 -0500
From: Dee Hays <deerich@-----.net>
Subject: Re: klarinet-digest V1 #350
HatNYC62@-----.com wrote:
> <<Practice long tones every day!>>
>
> Why?
Because it works. Almost all tone problems require this as a remedial
exercise. Those with good tone find it helps them to keep it. Why does
it work? I don't really know but here is my spin on it. By holding
long tones, the embouchure gets better developed and develops more
quickly then if a person only plays his etudes and band music. Also
when the student plays long tones, he has more of an opportunity to
really listen to his own sound. He / she will then make both conscious
and subconscious adjustments to obtain a sound more pleasing to himself.
Dee Hays
deerich@-----.net
Canton, SD
------------------------------
Date: Sat, 25 Oct 1997 21:22:35 -0400
From: Bill Hausmann <bhausman@-----.com>
Subject: Re: what I have to teach
At 07:08 PM 10/25/97 -0500, pmedina wrote:
>Well, in two classes there are a few students with behavorial problems. One
>student cannot sit with the rest of the kids and puts himself on the back
>row. He has no book so has no idea what is going on. He also at times gets
>up and walks around the back of the room, getting into lockers. When i ask
>him to participate he flies into a minor rage and only does it to his
>satisfaction. I have to send him to the office with a discipline slip every
>time he is off task as they need documentation of this behavior. I cannot
>remove him from the class without a ton of documentation.
>My best clarinet beginner is also a behavorial student. In my class he is
>fine. He plays wonderfully, also. He even impresses the other students,
>most of whom do not think he is smart. He is VERY intelligent. But he also
>pushed a teacher and has been put in what is called shut down for 4 weeks.
>A padded room where he rocks back and forth and beats the wall. There are
>regular ed kids in these classes I have. I don't understand why their
>education has to suffer for the few who are problems. What happend to
>having control over who is in your band program? The term that keeps coming
>is inclusion. I see the kids every other day for 90 minutes as we are on
>block scheduling. It is a frustrating situation that just seems to get
>worse. Every week there is a fight in the area where the kids wait for
>busses. We did not used to have this much violent behavior in the school.
>The elementary teachers tell us the current 5th grade group is also bad.
>The only solution I see for myself is moving.
>
I wish I could be encouraging, but I don't know where you could move TO.
Inclusion is the current educational fad and will be until, as happened
with the "see and say" reading method, someone finally admits that "they"
(meaning those OTHER people) have screwed up a whole generation of kids and
comes up with some new cockamamie scheme. My wife is a 6th grade teacher
fighting the same battles. Technically, hers is a "stretch" class, which
is supposed to be for the brightest kids. But in the spirit of "fairness,"
she also has some of the dumbest, including special ed and even one who has
a form of autism. Last week she got a new student, who speaks no English
(in all fairness, there is a bi-lingual kid in her class to help, but
still...). The net effect, in spite of the protestations to the contrary,
is a "dumbing down" of the educational process. We have to reorder the
priorities, and spend more of our scarce time and resources to provide
real, meaningful educational opportunities for the brightest students, the
ones who, we hope, will someday lead our industries, governments, and
universities. Firing salvo after salvo of information over the heads of
students to short to catch it in a misguided attempt at "democracy" is
wasteful and harmful. It is like serving steak to the toothless, when soup
is readily available. The material must be appropriate to the student's
ability to learn, and if that means "tracking" students, so be it.
Sorry to rant off the clarinet subject, but I think I understand the
problem. If the clarinet student is simply unprepared to learn because of
what is going on in the schools these days, it is pretty hard to undo the
damage.
Bill Hausmann bhausman@-----.com
451 Old Orchard Drive http://www.concentric.net/~bhausman
Essexville, MI 48732 http://members.wbs.net/homepages/z/o/o/zoot14.html
If you have to mic a saxophone, the rest of the band is too loud.
------------------------------
Date: Sat, 25 Oct 1997 21:43:10 -0400
From: Bill Hausmann <bhausman@-----.com>
Subject: Re: bad tone
At 07:41 PM 10/25/97 -0500, Roger Garrett wrote:
>On Sat, 25 Oct 1997, Edwin V. Lacy wrote:
>> But, to have a person in an elementary or secondary school who would be
>> regarded as a "teacher of woodwinds" would be very rare.
>
>Not true at all ......in many school districts specialists who are full
>time teachers in music teach a specialty area.
>
And in many small school districts out in the hinterlands where I do
business, one teacher does all junior high and high school bands, and often
choir and general music as well! Not that I advocate this, of course, but
reality beats idealism almost every time.
Bill Hausmann bhausman@-----.com
451 Old Orchard Drive http://www.concentric.net/~bhausman
Essexville, MI 48732 http://members.wbs.net/homepages/z/o/o/zoot14.html
If you have to mic a saxophone, the rest of the band is too loud.
------------------------------
Date: Sat, 25 Oct 1997 22:28:49 -0400
From: avrahm galper <agalper@-----.com>
Subject: selmer
Selmer
Alexandre Selmer was left fatherless at a tender age, one of a family of
13 children.
His father, Frederic, had given his sons, a good foundation in
instrumental music, fortunately.
Alexandre did much of his studying in the tents of the French soldiers
in Algiers, as he was compelled to become "a child of the regiment", the
son of a renowned army bandmaster who passed to his reward without
leaving behind sufficient wherewithal to enable his widow to keep her
family together.
Six to eight hours actual study and practice per day was his schedule.
At 14 he became the first clarinetist of the famed Monte Carlo.
At 17 he became member of the Lamoureaux Symphony orchestra which he
served as 15 years as principal clarinet.
Then to the Opera Comique and then to Boston Symphony, Cincinnati
symphony and the New York Philharmonic under the great Gustav Mahler
In 1910 he returned to Paris to be with his brother in the Selmer
instrument factory.
[ It would be interesting to tell some of the descriptions of
Alexandre's playing ]
His execution was so complete that he would take a rather simple theme
and gradually embellish it with so many rapid and brilliant variations
that one only hearing him=85without seeing him=85would surely think that
there are two clarinetists playing.
I have heard him play the most intricate cadenzas, passages that worry
the finest of players, in the regular key, smooth as oil
Without facial contortions or unusual gestures of the arms, hand or
fingers, seemingly impossible figuration would pour out of his clarinet
like water
He had a nervously sensitive ear for precise intonation as is seldom
given to any but fine string players.
[ I hope to add some of Alexandre's playing philosophy in future
postings ]=20
Avrahm Galper
------------------------------
Date: Sat, 25 Oct 1997 19:35:56 -0700
From: Gary_VanCott@-----.com
Subject: Finale 97
Gary VanCott=NHIN
10/25/97 07:35 PM
Sorry to be off topic. The Finale 97 (windows) upgrade appeared in my mail
box a few days ago. (Can't say that I really recall ordering it, but that
may be another story.) Anyway it won't load, possibly a bad CD. In fact the
Finale subdirectory on the CD appears to be empty. I have been unable to
get into the Coda Music technical forums on the Internet (busy or
unvailable). Can anyone shed any light on this? Email me privately.
TIA
Gary Van Cott
Las Vegas, NV
Gary_VanCott@-----.com
------------------------------
Date: Sat, 25 Oct 1997 22:50:03 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: broken needle spring question
Hi,
I didn't even know there was a such thing as a metal clarinet until a few
days ago when a few of my band buddies brought one to me for positive
identification as being a clarinet. Do they have like special mouth peices
or something?? Sorry, I was just in shock when I saw it because I had never
seen such a thing. Maybe an instrument repair shop could assist you with
your spring problem! N-E-WAYZ it's cool that you have one though.
Well,
luv ya,
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 23:04:34 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: Buffet Festivals
Hi,
This is really confusing me, I don't know anything about all of these
different models!!
All I know is that I need a new one and I need a better mouth peice because
my reed size is really getting up there, right now I'm playing 4 1/2 Vandoren
reeds, and they're kind of hard to come by. I need to get rid of my little
$25.00 mouth piece, but I don't know what brand to go for, and I don't know
if I should just go for expensive, or what!! I need to get something besides
my little bundy student model!! At least it's not plastic, but still!!
luv ya,
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 23:07:34 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: Buffet Festivals
Hi,
I don't know what an R-13 is, I know PG-13, but I don't think that's quite
the same thing!! Will somebody please clue me in!! If I know the models at
least I can bore my stupid saxaphone friend who always tells me about his
dumb Selmer Paris. Heeeeeeeeeeeeeeeeeeeeeeeeeeeeeeelp!!!!
luv ya,
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 23:17:02 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: bad tone
Hi,
I'd like to say something about that word support. I had no idea what it
meant for years, until I had a teacher tell me I was doing a good job of it,
but even then I wasn't sure. Now, I know because I'm learning the flute, and
I can't "support" it. It makes me dizzy and gives me stomach aches, but hey
it's an easy instrument to learn!
luv ya,
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 23:22:42 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: bad tone
Hi,
I'm in high school, and I've got a different problem than that. First off,
I'm the only one with tone quality, so I'm always out of tune with the
others. The only reason I know that I'm right and they're wrong is because
the tuner says so. My problem is that I can't sight read worth beans!! I'm
first chair but my music teacher seems to only care about sight reading and
I'm getting worried. Also, I recently joined a community band and I now
realize how truly pathetic I am, and here I thought I was actually playing
pretty well for all of this time. I actually volunteered for third, and I
hate playing third chair!!
well, bye,
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 23:27:50 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: bad tone
I don't think a music teacher should have to play well on so many different
instruments. You have to be strong in woodwinds or brass. Granted, they
should know how to play the different instruments. I've tried to play my
sisters french horn after playing my clarinet and I believe for me to get
good tone quality out of a brass instrument would be phisically impossible!
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 23:34:58 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: Firebird
Hi,
My tip for alternate fingerings is to practice easier music with those notes
in the alternate fingerings because after playing with a certain fingering
for years and years and years it can be hard to look at a note and play
something different! This will help you get used to the new fingerings so it
doesn't feel weird when you try to play with them.
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 22:33:07 -0500
From: "Donald Walkner" <dwalkner@-----.com>
Subject: bass clarinets
This is a multi-part message in MIME format.
- ------@-----.F7467DA0
charset="iso-8859-1"
I am looking for a new bass clarinet, either a Selmer Paris or =
Buffet--professional down to low C. Would anyone know of any sites that =
sell used instruments? I've tried Woodwind and Brasswind, Muncy, and =
the Selmer and Buffet sites. If you know anyone who has one of these =
for sale, please tell me! Thanks.
Amy
dwalkner@-----.com
- ------@-----.F7467DA0
charset="iso-8859-1"
<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HEAD>
<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content@-----.3"' name=3DGENERATOR>
</HEAD>
<DIV>I am looking for a new bass =
clarinet, either a=20
Selmer Paris or Buffet--professional down to low C. Would anyone =
know of=20
any sites that sell used instruments? I've tried Woodwind and =
Brasswind,=20
Muncy, and the Selmer and Buffet sites. If you know anyone who has =
one of=20
these for sale, please tell me! Thanks.</DIV>
<DIV> </DIV>
<DIV>Amy</DIV>
<DIV>dwalkner@-----.com</DIV>
- ------@-----.F7467DA0--
------------------------------
Date: Sat, 25 Oct 1997 23:38:23 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: bad tone
I don't think you can blame bad teachers for turning kids off to music. I've
never had a really good teacher. In fact, I've never even had a teacher who
knew how to play the clarinet. I just practice twice a day and I try to
learn from those around me, books, and well, the internet. My band
instructer couldn't care less about anything but his stupid beloved trumpet
section! My point is, that if you're motivated to play music, nothing can
stop you. Right now I'm making a sad attempt at teaching myself the flute,
and I'll get it eventually. No one doesn't like music, the fact is that it
is not sociably accebtable to be a musician, or in performing arts, which
sorta cuts me out of everything. It's not the teachers, it's society as a
whole.
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 23:40:41 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: Buffet Festivals
How much would a good condition, professional clarinet run for??
~=~=~=AMY=~=~=~
------------------------------
Date: Sat, 25 Oct 1997 23:50:20 -0400 (EDT)
From: AmyLynnR@-----.com
Subject: Re: what I have to teach
Hi,
It's sad that things like that are happening with the children. I remember
in my elementry school, there were gang fights and everything else. It got
even worse in middle school. There was so much racial segregation that when
I moved to the suburbs I was actually afraid to talk people that weren't
white because I didn't want them to get beat up, but then I learned that it
just wasn't like that out here. You are doing a good service teaching there
though, band was like a relief from life when I still lived in the city.
~=~=~=AMY=~=~=~
P.S.I hate block schedualing, where do you teach??
------------------------------
End of klarinet-digest V1 #352
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