Klarinet Archive - Posting 000058.txt from 1997/11

From: "David C. Blumberg" <reedman@-----.com>
Subj: Re: klarinet-digest V1 #381
Date: Mon, 3 Nov 1997 21:38:14 -0500

That the material does not make a difference in the sound.
(I don't buy that for a second)
D.B.

-----Original Message-----
From: klarinet-digest <owner-klarinet@-----.us>
Date: Monday, November 03, 1997 6:48 PM
Subject: klarinet-digest V1 #381

>
>klarinet-digest Monday, November 3 1997 Volume 01 : Number 381
>
>
>
>
> Re: Ricardo Morales Recital
> Re: Concert Announcement
> Re: Ricardo Morales recital
> Re: addresses
> Article needed for sneezy
> Re: addresses
> A Huge Note of Thanks!!!!
> Re: A clarinetist's notebook
> Re: Long Tones
> Patricola Clarinets
> Morales
> Re: klarinet-digest V1 #380
> Morales Recital
> Re: Ricardo Morales Recital
> Re: long tones
> Buffet International
> Re: long tones
> Albert system clarinets
> Re: Patricola Clarinets
> Re: Buffet International
> Re: Buffet International
> Buffet
> Re: long tones
>
>----------------------------------------------------------------------
>
>Date: Sun, 2 Nov 1997 22:48:40 -0600 (CST)
>From: Roger Garrett <rgarrett@-----.edu>
>Subject: Re: Ricardo Morales Recital
>
>> I could've sworn he played an Opus, which, since it is unstained, more brown
>> streaks show up. I have a Concerto; I wonder what a rosewood one would sound
>> like. Wow! All this updating sure leaves you in the dust! Just when you
>> think you have the best, it is outdone. How frustrating! Does rosewood give
>> off basically the same sound as grenadilla? Is this some new way to break
>> the fad of black clarinets?
>
>
>According to Jonathon Cohler, Leblanc does this because of
>marketing hype....that is no difference between Rosewood, Grenadilla,
>Plastic, or thin wall/thick wall construction....can't change the laws of
>physics (I believe he said). So don't worry....some people believe you
>have no need to update!
>
>(BTW, I don't agree).
>
>Roger Garrett
>
>------------------------------
>
>Date: Mon, 3 Nov 97 00:19:22 -0600
>From: "David B. Niethamer" <dnietham@-----.edu>
>Subject: Re: Concert Announcement
>
>I'll be playing on a concert of American works this coming Sunday,
>November 9 at 2 p.m., in the auditorium of the Virginia Museum of Fine
>Arts. the concert is in conjunction with an exhibit called "American
>Dreams". The program is as follows:
>
>William Grant Still - Folk Suite No. 4 (flute, clarinet, cello, piano)
>William Schuman - Awake Thou Wintry Earth (clarinet, violin)
>Adolphus Hailstork - American Landscape No. 2 (violin, cello)
>INTERMISSION
>Mary Howe - Three Pieces After Emily Dickinson (string Quartet)
>Copland - Sextet (clarinet, string quartet, piano)
>
>For ticket info, call the Museum Events Ticket Desk (804) 367-8148
>
>Hope to see some of you there.
>
>David
>
>David Niethamer
>Principal Clarinet, Richmond Symphony
>dnietham@-----.edu
>http://members.aol.com/dbnclar1/
>
>------------------------------
>
>Date: Mon, 03 Nov 97 01:38:05 -0500
>From: "R Tennenbaum" <rtenn@-----.com>
>Subject: Re: Ricardo Morales recital
>
>Fred wrote:
>
>>Another thing that I can comment on is that Mr. Morales frequently blew out
>>moisture from some tone holes on the horn. No big problem, but he did it
>>audibly (fwoosh) and I did take notice that perhaps this should not happen?
>
>In all fairness, it was probably as humid a day as a clarinetist has
>played a New York recital in some time -- at least when it's muggy in
>the summertime, the air-conditioning provides some relief.
>
>Fine playing, I agree -- I thought highly of Rafael Figueroa's cello
>as well; the dialogue of the Brahms slow movement gave some of the
>nicest moments of the afternoon. (Although I thought Mr. Morales was
>going to drop the sheet music when they changed stands and Mr.
>Figueroa, uh, "handed" him the pages for the Byrd).
>
>- -Rafe T.
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 00:01:40 -0800 (PST)
>From: Nicholas Yuk Sing Yip <nyip@-----.edu>
>Subject: Re: addresses
>
>Never mind. It was pretty stupid idea anyway. (^_^)
>cheers!
>
>On Sat, 1 Nov 1997, Mark Charette wrote:
>
>> Nicholas Yuk Sing Yip wrote:
>> >
>> > On this list there has been a series of questions asked regarding giving
>> > out email addresses to people on the klarinet listserv. I looked in
>> > the archives for answers regarding to this question and there just
>> > were not any. Recently I asked for request of this list on the klarinet
>> > listserv and on majordomo. Are they not giving a list like this out? Am
>> > I being rude to request this list, if so I do not mean to be? If it is
>> > not on majordomo or klarinet, where can I find it? Please let me know.
(^_^)
>>
>> The majordomo has a command to return the addresses on the list.
>> Send the command "help" to the majordome to get the list of commands.
>>
>> Be careful what you do with the list. I keep a current copy just in
>> case the listserv goes down (I have a backup listserv in case it ever
>> happens again), but there aren't too many good reasons to keep a
>> list of member around.
>> --
>> Mark Charette | "This is a very democratic organization, so let's
>> charette@-----. All those who disagree with me, raise
>> Mika Systems, Inc.| their hands." - Eugene Ormandy
>> Webmaster of http://sneezy.mika.com/clarinet, The Clarinet Info Pages
>>
>
>------------------------------
>
>Date: Mon, 03 Nov 1997 10:25:25 -0500
>From: Mark Charette <charette@-----.com>
>Subject: Article needed for sneezy
>
>As Gary Van Cott pointed out to me in a personal correspondence,
>one question pops up an inordinate number of times on both my
>and Stan Geidel's bulletin board . It's posed mostly by parents
>who are concerned about buy too little or too much:
>
>"What kind of clarinet should I get a beginner?"
>
>I'm not really qualified to answer that question, but I know
>that a number of you out there on the list are.
>
>If you'd like to take a crack at answering the question,
>please drop me a line at music@-----. I'm more than
>willing to sythesize and reduce multiple answers to the
>question.
>
>TIA,
>- --
>Mark Charette, MIKA Systems, Inc., charette@-----.com
>">>As far as I can tell, no."
>">Fortunately, this is not correct."
>"Proving once again that ... the best way to extract useful infor-
>mation is to post wrong information." - Roger Glover, F90 mail list
>
>------------------------------
>
>Date: Mon, 03 Nov 1997 11:05:49 -0800 (PST)
>From: EPOTTER@-----.org
>Subject: Re: addresses
>
>Try sending "who klarinet" to the "Majaordomo"
>
>------------------------------
>
>Date: Mon, 03 Nov 1997 15:57:28 -0500
>From: "Craig E. G. Countryman" <cegc@-----.net>
>Subject: A Huge Note of Thanks!!!!
>
>I just wanted to personally thank every member of Klarinet that
>responded to my query concerning the Rose Etudes a couple months ago.
>They were part of my All-State Audition material, and I found out today
>that I made the 11th and 12th Grade Florida All-State Band! I received
>a lot of help concerning interpretation, etc, from many members, and so
>I really want to thank those who responded!! Your comments were
>extremely helpful.
>
>- --
>Craig Countryman
>cegc@-----.net
>http://www.geocities.com/Vienna/1711
>
>Thought of the Day:
>
>"The one serious conviction that a man
> should have is that nothing is to be
> taken too seriously." -Samuel Butler
>
>------------------------------
>
>Date: Sun, 02 Nov 1997 16:55:01
>From: Anthony Goret <Anthony.Goret@-----.be>
>Subject: Re: A clarinetist's notebook
>
>At 16:02 29/10/1997 +0100, you wrote:
>
>
>>Schmidt, Robert.
>>A Clarinetist's Notebook. (Vol. 1- Care and Repair Vol. 2- The Value of
>>Fundamentals).
>>Rochester, New York: SHALL-u-mo, 1971.
>>
>>I was told this book is currently out of print. Can someone on this list
>>help me get hold of a copy?
>
>I see that you are belgian, i'll speak in flemish.
>
>Ik ken dit boek maar ik zal proberen om jij te helpen. Ik stuur een copie
>van dit e-mail aan paar colleguas.
>
>Ben jij klarinetist ?
>
>Ik wel, ik ben in de meestergraad in Gent.
>
>Tot ...!
>
>Anthony Goret
>clarinetist/musicus
>
>
>- -----
>E-Mail: Anthony.Goret@-----.be
>http://www.creabel.com/anthony
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 14:34:15 -0700 (MST)
>From: Jacqueline Eastwood <eastwooj@-----.EDU>
>Subject: Re: Long Tones
>
>On Sun, 26 Oct 1997 HatNYC62@-----.com wrote:
>
>>
>> <<The embouchure muscles are like any other muscles. They need slow
>> exercises as well as fast.>>
>>
>> This makes no sense to me. The embochure SHOULD be serving the same function
>> in either fast or slow passages, no?
>>
>Far be it from me to presume (especially since I'm still a week behind
>the conversations here), but I would clarify the first statement to read
>something like "exercises in which one concentrates specifically on the
>embouchure muscles".
>
>I do a specific set of long tone exercises every time I warm up. As my
>practice time is extremely limited, I find them valuable for getting
>focused, both physically and mentally. If I'm in better than usual shape,
>I can also use them for tuning long to short fingerings, going from low to
>high notes and vice versa, etc. Smoothness, continuity of sound
>character, "light" fingers, etc., plus the concentration on those pesky
>upper lip muscles -- it gets me started in a physically correct way, often
>compared to a ballet dancer doing barre exercises as a warm-up.
>
>Of course, this is only one part of the regimen.
>
>
>Jacqueline Eastwood
>University of Arizona/Arizona Opera Orchestra
>eastwooj@-----.edu
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 16:24:59 -0500
>From: Michael Norsworthy <mnorsworthy@-----.net>
>Subject: Patricola Clarinets
>
>Does anyone know anything about Patricola clarinets? Any info would be
>appreciated. TIA.
>
>Regards,
>Michael
>mnorsworthy@-----.net
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 16:49:01 EST
>From: Hat NYC 62 <HatNYC62@-----.com>
>Subject: Morales
>
><<I could've sworn he played an Opus, which, since it is unstained, more brown
>streaks show up. >>
>
>He does play an Opus, although it is made from Rosewood and also has an extra
>throat b-flat mechanism.
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 16:51:45 EST
>From: Hat NYC 62 <HatNYC62@-----.com>
>Subject: Re: klarinet-digest V1 #380
>
><<I did, however, disagree with some
>of his tempi (too fast). The first movement of the Saint Saens (the theme
>that comes back at the end), in particular, if performed slower than an
>initial instinct would dictate, gives an entirely different and almost
>(crying from the heart) prayerlike feeling to the rising triplet pattern in
>measures 15-17.>>
>
>Obviously a matter of interpretation. The tempo marking is Allegro. I actually
>prefer his tempo, as I think the piece starts to sound overly sappy at a slow
>tempo. One just has to have the technique to play the quick parts of the 1st
>movement at the same tempo. You didn't mention his rather quick tempo for the
>3rd movement. I thought that really improved a very problematic movement.
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 16:53:36 EST
>From: Hat NYC 62 <HatNYC62@-----.com>
>Subject: Morales Recital
>
><<Also, this characteristic caused
>him to miss at least two quiet entries on high notes- they just didn't come
>out. Can any one comment?>>
>
>Most clarinetists, even great ones, will miss a few high soft entrances, given
>enough time to do so. The fact that he missed so few was remarkable. Also, the
>ones that came out were almost all exceptionally beautiful in quality, which
>meant he was really going for it, not playing it safe!
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 17:02:11 -0500 (EST)
>From: Composer16@-----.com
>Subject: Re: Ricardo Morales Recital
>
>In a message dated 97-11-03 01:25:07 EST, you write:
>
><< According to Jonathon Cohler, Leblanc does this because of
> marketing hype....that is no difference between Rosewood, Grenadilla,
> Plastic, or thin wall/thick wall construction....can't change the laws of
> physics (I believe he said). So don't worry....some people believe you
> have no need to update!
>
> (BTW, I don't agree). >>
>
>
>With what statement don't you agree with?
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 15:03:30 -0700 (MST)
>From: Jacqueline Eastwood <eastwooj@-----.EDU>
>Subject: Re: long tones
>
>On Sun, 26 Oct 1997 HatNYC62@-----.com wrote:
>
>>
>> <<The reason is that the embouchure is a set of muscles. Like
>> any other muscle, they will deteriorate without regular training
>> exercises. Also if one does not regularly play these long tones as a
>> method of checking themselves, bad habits can develop and get pretty
>> serious before the player discovers that there even is a problem.>>
>>
>> Now wait a minute. You make it sound like it is impossible to listen to your
>> own sound without playing long tones. Ideally, you should be observing your
>> tone quality at all times.
>>
>> I write all this because I have never played long tones and never had a
>> teacher who espoused them. My main teacher was against it. He always felt
>> that scales were the true studies for tone and embochure development, because
>> those were basically what you would have to play as a clarinetist, not
>> sustained tones. He used to say that the true clarinet tone was contained in
>> the c major scale and that you had to practice it until you found it.
>
>Yes, and if he (oh sorry, I meant He) didn't like every single detail
>of the way you played your C Major scale, you were crap and would never
>amount to anything musical. Sorry, I never found the Holy Grail.
>
>Actually, as an opera player, I find myself playing lots of sustained
>notes and they have to be in tune with the principal or the other wind
>principals. A well-developed embouchure (and the entire oral cavity
>involved) is necessary for flexibility. I have found that the best way to
>achieve this is to play exercises which allow one to concentrate on the
>facial/embouchure/mouth muscles. But that is me, and perhaps others would
>have different experiences.
>
>>
>> I think you'd agree that Marcellus had a pretty decent tone quality. But the
>> true beauty in his sound is in evidence most when he plays an interval! It's
>> the quality of his slurring and his articulation that make his concept
>> pleasing. These qualities are not addressed in long tones and, in fact can be
>> overlooked when playing long tones. Marcellus always said if you were out of
>> shape or were in a slump, play an extra half hour of Baermann III every day.
>> It works without fail.
>>
>Well, fortunately there are other teachers in this world. Long tone
>exercises do not negate intervallic content; on the contrary, the
>exercise I mentioned before was given to me by Russ Dagon and spans three
>octaves (lowest E to E three lines above the staff). My copy of Baermann
>III has virtually no cover left on it (but I refuse to buy a new one
>because it's full of character!); nevertheless, I still believe that
>this warm-up is an excellent one FOR ME. Some teachers are very hard-line
>and close-minded when it comes to individual needs; what works for some
>may not work for all.
>
>BTW, "He" is probably rolling in his grave because I actually have had a
>professional job now for 5 seasons, in addition to some freelancing (I was
>told many times that my continuing to practice the clarinet was a waste of
>time; I'd be better off practicing the phrase "Would you like fries with
>that".)
>
>Thanks for listening to my tirade. I didn't mean to deteriorate like
>that.
>
>
>Jacqueline Eastwood
>University of Arizona/Arizona Opera Orchestra
>eastwooj@-----.edu
>
>------------------------------
>
>Date: Mon, 03 Nov 1997 14:25:30 PST
>From: "Clair inet" <jsdreis@-----.com>
>Subject: Buffet International
>
>I don't know much about the Buffet International clarinet, but I know
>that the Buffet r-13 is played on by all of the teachers that I've
>had(5)and every other young musician that I know, including myself. The
>r-13 is a wonderful instrument and everyone should have one!
>
>Get Your Private, Free Email at http://www.hotmail.com
>
>------------------------------
>
>Date: Mon, 03 Nov 1997 17:21:33 -0500
>From: Mark Charette <charette@-----.com>
>Subject: Re: long tones
>
>Jacqueline Eastwood wrote:
>
>> BTW, "He" is probably rolling in his grave because I actually
>> have had a professional job now for 5 seasons, in addition to
>> some freelancing (I was told many times that my continuing to
>> practice the clarinet was a waste of time; I'd be better off
>> practicing the phrase "Would you like fries with that".)
>
>Whaddoyou mean? "He" wanted you to be an _actress_ ??
>- --
>Mark Charette, MIKA Systems, Inc., charette@-----.com
>">>As far as I can tell, no."
>">Fortunately, this is not correct."
>"Proving once again that ... the best way to extract useful infor-
>mation is to post wrong information." - Roger Glover, F90 mail list
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 17:33:47 -0500 (EST)
>From: SALEAS@-----.com
>Subject: Albert system clarinets
>
>Can anyone help me find Buffet Albert system clarinets? I'm looking for any
>key except Eb. Must be low pitch and 5 piece.
>
>Thanks,
>George
>SALEAS@-----.com
>216 734-7262
>
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 23:46:14 +0100 (MET)
>From: fcoene@-----.org
>Subject: Re: Patricola Clarinets
>
>> Does anyone know anything about Patricola clarinets? Any info would be
>> appreciated. TIA.
>
>You can find informations on several pages...
>http://web.tin.it/patricola/
>http://sneezy.mika.com/clarinet/
>http://www.vol.it/patricola/
>
>Frederik
>
>
>- --
>********************************************
>Frederik Coene
>Iepersesteenweg 4 Tiense Vest 83
>8630 Veurne 3010 Leuven
>BELGIUM BELGIUM
>(+32)-58/31.23.28. (+32)-16/29.31.66.
>http://julien.dolphin.forum.be/ (Europe)
>http://sneezy.mika.com/~fcoene/ (America)
>********************************************
>
>------------------------------
>
>Date: Mon, 03 Nov 1997 17:48:13 -0500
>From: Mark Charette <charette@-----.com>
>Subject: Re: Buffet International
>
>Clair inet wrote:
>> I don't know much about the Buffet International clarinet, but I know
>> that the Buffet r-13 is played on by all of the teachers that I've
>> had(5)and every other young musician that I know, including myself.
>
>You need to meet more people :)
>
>> The r-13 is a wonderful instrument and everyone should have one!
>
>The R-13 (and brethren) are sometimes fine instruments; however,
>you need to widen your horizons a bit. There are other fine
>instruments available that are every bit as good if not better
>that the R-13 - LeBlanc, Patricola, Selmer, Wurlitzer, Rossi,
>Howarth, and more.
>
>The R-13 is a very popular instrument no doubt. However, _I_ may
>not want one even if you think I _should_ have one :)
>- --
>Mark Charette, MIKA Systems, Inc., charette@-----.com
>">>As far as I can tell, no."
>">Fortunately, this is not correct."
>"Proving once again that ... the best way to extract useful infor-
>mation is to post wrong information." - Roger Glover, F90 mail list
>
>------------------------------
>
>Date: Tue, 4 Nov 1997 00:21:50 +0100 (MET)
>From: fcoene@-----.org
>Subject: Re: Buffet International
>
>> I don't know much about the Buffet International clarinet, but I know
>> that the Buffet r-13 is played on by all of the teachers that I've
>> had(5)and every other young musician that I know, including myself. The
>> r-13 is a wonderful instrument and everyone should have one!
>
>I don't know about the others, but I prefer my Leblanc Concertino
>
>
>- --
>********************************************
>Frederik Coene
>Iepersesteenweg 4 Tiense Vest 83
>8630 Veurne 3010 Leuven
>BELGIUM BELGIUM
>(+32)-58/31.23.28. (+32)-16/29.31.66.
>http://julien.dolphin.forum.be/ (Europe)
>http://sneezy.mika.com/~fcoene/ (America)
>********************************************
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 18:36:10 +0000
>From: "Naimh" <rosemary@-----.com>
>Subject: Buffet
>
>Hi,
>My friend has a Buffet clarinet with a serial number of 2222. I know
>it was made around 1929 or so....but the bell and the lower joint
>have a number 3 engraved. Does anyone know what the 3 could stand
>for?
>
>thanks,
>Rosie
>
>------------------------------
>
>Date: Mon, 3 Nov 1997 17:46:49 -0600 (CST)
>From: Roger Garrett <rgarrett@-----.edu>
>Subject: Re: long tones
>
>On Mon, 3 Nov 1997, Jacqueline Eastwood wrote:
>
>> Well, fortunately there are other teachers in this world. Long tone
>> exercises do not negate intervallic content; on the contrary, the
>> exercise I mentioned before was given to me by Russ Dagon and spans three
>> octaves (lowest E to E three lines above the staff). My copy of Baermann
>> III has virtually no cover left on it (but I refuse to buy a new one
>> because it's full of character!); nevertheless, I still believe that
>> this warm-up is an excellent one FOR ME. Some teachers are very hard-line
>> and close-minded when it comes to individual needs; what works for some
>> may not work for all.
>
>There is a wonderful set of exercises, Flexibility Studies, in the book by
>Stubbins called Essentials of Technical Dexterity that help alleviate some
>of the boredom of long tones....not replace.....just augment. I believe
>it parallels what Jacqueline has written above.
>
>Uh....what about that c major scale again and the holy grail? You mean,
>you didn't learn the C major scale perfectly?????
>
>Roger Garrett
>
>------------------------------
>
>End of klarinet-digest V1 #381
>******************************
>
>

   
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