Klarinet Archive - Posting 001241.txt from 1997/10

From: SDM@-----. Morrow)
Subj: Re: Question
Date: Mon, 27 Oct 1997 14:07:38 -0500

I found it fascinating reading the "insider's" account of the
student instrument rental business (hereafter referred to as "the slave
trade"!), and useful to hear the comments of a teacher who had to suffer
the consequences! While some of us may pick at unfounded or unproven (or
illogical) bases that we sometimes cite as the underlying causes of bad
accoustical qualities, I felt there was also alot of logical substance
presented to back up uncontrovertible shortcomings in some of these
instrument designs (Wow! Did I accidentally eat the dictionary for
breakfast this morning? I caould've sworn it was on the dining room table
when I started...!).
Last month I started teaching a student who is playing on an
Artley, and from the information I've gotten on this list, I've found
myself checking the instrument more and more to find out which problems are
due to my student's lack of experience and which may very well be due to
the instrument itself! Based on some of this new information, the next
thing I'm going to double check is the key placement (my student is having
trouble covering the right-hand holes, and her fingers seem to be the same
lengths as mine!). While I think she can probably get by on this
instrument for a while longer, I'm sure at some point I'm going to have to
suggest a different instrument!
Thanks for pointing out that there truly ARE some differences that
can affect how well a student can play!

-Scott
>
(Incidentally, I play on a Selmer Signet Special that has served me very
well even professionally for 25 years! I mostly use Mitchel Lurie reeds
because I've foud them reliable; I've had variable success with Zondas,
and not much luck with Vandorens!)

Scott D. Morrow
Department of Biochemistry
School of Hygiene and Public Health
Johns Hopkins University
(410) 955-3631

SDM@-----.edu