Klarinet Archive - Posting 001177.txt from 1998/03

From: "Eric" <hoffman@-----.edu>
Subj: Re: klarinet-digest V1 #780
Date: Tue, 24 Mar 1998 23:04:33 -0500

If anyone has experience with Leather pads on Bb clarinet please email me
with your comments etc.
Thanks
-Eric-
-----Original Message-----
From: klarinet-digest <owner-klarinet@-----.us>
Date: Tuesday, March 24, 1998 12:26 PM
Subject: klarinet-digest V1 #780

>
>klarinet-digest Tuesday, March 24 1998 Volume 01 : Number 780
>
>
>
>
> SPOHR - Orchestral Material
> Devienne Recording
> SPOHR - Orchestral Material -Reply
> Re: Standing with Bass/Colgrass Urban Requiem (fwd)
> Re: Krenek Suite recording?
> Re: Shouryu Nohe, enlighten me (reply to Josh)
> Re: Devienne Recording
> Re: Tomasi "Sonatine Attique"
> Re: L'Abeille
> Re: "problem" notes
> Re: Tomasi "Sonatine Attique"
> Berio Sequenza IXa
> Re: Insults on the list
> Re: Oboe reed for octave shift
> Re: Tomasi "Sonatine Attique"
> Re: Bore size question
> Printing music: how?
> Benny Goodman mouthpiece
> re:Devienne recordings
>
>----------------------------------------------------------------------
>
>Date: Mon, 23 Mar 1998 18:33:56 GMT
>From: Fernando Silveira <fersilv@-----.net>
>Subject: SPOHR - Orchestral Material
>
> Hi friends, I am trying to find the Orchestral material(1st violin,
>2nd violin, etc)of SPOHR 1st clarinet concerto.
> I've tryind Dorn and other companys without success.
> Can you help me?
>
> Thanks in advance
>
> Fernando
>
>- -------------------------------------------------------------------------
>
>Fernando Jose Silveira
>Principal Clarinet - National Symphony - Brazil
>
>fersilv@-----.net
>
>Phone/Fax (55)(21)716-2248
>
>------------------------------
>
>Date: Mon, 23 Mar 1998 12:45:29 -0600
>From: LUZUMG@-----.edu
>Subject: Devienne Recording
>
>Hi-
>
>I am looking for a recording of F. Devienne's Deuxieme Sonata. I have
tried
>the National Public Radio Music Source (1-800-75 MUSIC), but its warehouse
is
>not stocking this recording at this time. Please let me know where I can
find
>a quality recording of this piece.
>
>Gina Luzum
>University of Nebraska at Kearney
>
>------------------------------
>
>Date: Mon, 23 Mar 1998 13:10:36 -0600
>From: James Sclater <Sclater@-----.edu>
>Subject: SPOHR - Orchestral Material -Reply
>
>try Edwin Kalmus..
>Jim Sclater
>
>------------------------------
>
>Date: Mon, 23 Mar 1998 12:43:43 -0700 (MST)
>From: Jacqueline Eastwood <eastwooj@-----.EDU>
>Subject: Re: Standing with Bass/Colgrass Urban Requiem (fwd)
>
>I realize this topic is about a month old, but I just got a reply from our
>band director and thought I would forward it in case the original
>questioner still needs some input!
>
>Jacqueline Eastwood
>University of Arizona/Arizona Opera Orchestra
>eastwooj@-----.edu
>
>- ---------- Forwarded message ----------
>Date: Mon, 23 Mar 1998 12:16:08 +0300
>From: Gregg Hanson <hansong@-----.edu>
>To: Jacqueline Eastwood <eastwooj@-----.EDU>
>Subject: Re: Standing with Bass/Colgrass Urban Requiem (fwd)
>
>Hi,
>
>Just got your message. Just did Urban Requeim. My Bass Clar. chose not
>to stand for the same reason. Colgrass was here and didn't have a problem
>with it.
>
>Gregg Hanson
>Director of Bands
>U of AZ
>
>------------------------------
>
>Date: Mon, 23 Mar 1998 17:47:28 -0500 (EST)
>From: Jennifer Rose McKenna <jrm0013@-----.edu>
>Subject: Re: Krenek Suite recording?
>
>when you find one please oh please tell me where you got it....
>I"m playing the KRenek for my jury this semester and am in desperate need
>of a recording...btw..it was originally for clarinet and string orchestra..
>
>jennifer mckenna
>jrm0013@-----.edu
>university of north texas
>music ed major/clarinet concentration
>
>On 20 Mar 1998 05:32:52 GMT Simon Aldrich
><Simon_Aldrich@-----.ca> wrote:
>
>
>> Does anyone know of a recording of the Ernst Krenek Suite for clarinet
and
>> piano?
>>
>> Thanks in advance.
>>
>> ----------------------------------------------------------
>>
>> Simon Aldrich
>>
>> Principal Clarinet - l'Orchestre de l'Opera de Montreal
>> Principal Clarinet - l'Orchestre Metropolitain de Montreal
>> Nouvel Ensemble Moderne
>> Quintet Pentaedre
>> Les Vents de Montreal
>>
>> tel/fax: (514) 843-7550
>> simona@-----.org
>
>------------------------------
>
>Date: Mon, 23 Mar 1998 18:48:38 -0500 (EST)
>From: Jennifer Rose McKenna <jrm0013@-----.edu>
>Subject: Re: Shouryu Nohe, enlighten me (reply to Josh)
>
>hahaha.....I thought this was cute guys. :) having too much fun in new
>mexico eh? something in the water...let me know..i'd be interested.
>
>jennifer
>On Wed, 18 Mar 1998 00:49:42 -0700 (MST) "Joshua M. Coleman"
><joshcole@-----.Edu> wrote:
>> Prof. Shouryu Nohe wrote:
>>
>> > <sarc>Me??? Give a UNREQUESTED sarcastic response? No! Never! Gee,
what
>> > would make you think I'd do a thing like THAT?</sarc>
>>
>> a UNREQUESTED?
>>
>> Quick... what is the correct response? .... Ding... or dong... aw, what
>> the heck...
>> DING-DONG!!!!!!!!!!!!!!!!
>>
>> (Good thing he's not a English major... (yes, that was deliberate!!!))
>>
>> Joshua Colema (since some people cannot spell my name... ;-) )
>> NMSU
>>
>> P.S. Sorry, list
>> I couldn't resist
>>
>> P.P.S. Hey, that rhymed!!! Yay, small-minded entertainment!!!
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 00:12:57 -0500
>From: Michael Kolos <makolos@-----.ca>
>Subject: Re: Devienne Recording
>
>The only recording I found of this piece was by John Russo. It was on an LP
and
>was a pretty terrible recording. I played the 1st movement at a recital
this
>year. I think I have it on tape. It wasn't bad... But I doubt you'd want
it. A
>look at Schwann indicated that the only recording currently being made is
by
>Eduard Brunner on the Camerata label. on "The art of Playing Clarinet". #
25CM
>356.
>
>Michael Kolos
>
>LUZUMG@-----.edu wrote:
>
>> Hi-
>>
>> I am looking for a recording of F. Devienne's Deuxieme Sonata. I have
tried
>> the National Public Radio Music Source (1-800-75 MUSIC), but its
warehouse is
>> not stocking this recording at this time. Please let me know where I can
find
>> a quality recording of this piece.
>>
>> Gina Luzum
>> University of Nebraska at Kearney
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 00:27:42 -0500
>From: Michael Kolos <makolos@-----.ca>
>Subject: Re: Tomasi "Sonatine Attique"
>
>Sounds to me like it might be a play on words. "Son-a-tine-a-tique" type
>things. It would be pronounced like "sawn-a-teen ah-teek". Attique would =
>be
>an attic. Ancient/antique would be "Ancien" or "Antiquit@-----. I'm not
>completely fluent, so there may be some expression I'm not familiar with,=
> but
>I think the play on words idea sounds right.
>
>peter.stoll@-----.ca wrote:
>
>> Klarinetters,
>>
>> A student is working up this interesting unaccompanied piece, and a che=
>ck
>> of a French dictionary produced a surprise; instead of "ancient/antique=
>",
>> attique came out as "Attic/Athenian": can anyone shed some light on wha=
>t
>> this might mean in terms of how to play the piece, or why he would choo=
>se
>> this title? Or is this a mis-translation?
>>
>> Thanks!
>>
>> Peter Stoll
>> Instructor, Univ.of Toronto
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 08:47:27 +0000 (GMT)
>From: Roger Shilcock <roger.shilcock@-----.uk>
>Subject: Re: L'Abeille
>
>Yes -- that's so. This Schubert is commonly known as "Francois" to
>distinguish him from THE Schubert.
>Roger Shilcock
>
>
>
>On Sat, 21 Mar 1998, Mr. Sheim wrote:
>
>> Date: Sat, 21 Mar 1998 09:49:20 -0500
>> From: "Mr. Sheim" <fsheim@-----.com>
>> Reply-To: klarinet@-----.us
>> To: klarinet@-----.us
>> Subject: L'Abeille
>>
>> I recently heard a transcription of Schubert's L'Abeille (The Bee) on the
>> radio. The announcer made a point of saying that this was NOT the famous
>> FRANZ Schubert, but another person who coincidentally had the same name.
>> Anybody know if this is true
>>
>> Fred (fsheim@-----.com)
>>
>>
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 09:00:44 +0000 (GMT)
>From: Roger Shilcock <roger.shilcock@-----.uk>
>Subject: Re: "problem" notes
>
>Re "Altissimo" D: If you find it generally sharp, I suspect it's because
>you
>(or whoever) doesn't actually *need* the RH Aflat/Eflat key. On my
>instruments, at least, it's easy enough to play this note in tune without
>it -- even the E can be got in tune on my B flat instrument without
>it. A good way of learning to control these notes (for both players
>concerned) is to try to play along with a flute, in unison.
>The tuning of the throat notes varies enormously between models of
>instruments, mouthpieces, barrel lengths --- you name it. Despite Roger
>G's experience, I suspect he is over-simplifying considerably.
>For instance, I have a colleague with a Thibouville A clarinet on which
>the throat note is permanently *flat* in spite of all our best
>endeavours.
>
>Roger Shilcock
>
>
>On Sun, 22 Mar 1998, Karl Krelove wrote:
>
>> Date: Sun, 22 Mar 1998 09:26:16 -0500
>> From: Karl Krelove <kkrelove@-----.com>
>> Reply-To: klarinet@-----.us
>> To: klarinet <klarinet@-----.us>
>> Subject: Re: "problem" notes
>>
>>
>> -----Original Message-----
>> From: Roger Garrett <rgarrett@-----.edu>
>> To: klarinet@-----.us>
>> Date: Saturday, March 21, 1998 6:11 PM
>> Subject: Re: "problem" notes
>>
>>
>> >
>> >On Sat, 21 Mar 1998 netwitt@-----.net wrote:
>> >> I teach jr high band, and some of the kids are ready to
>> >> start listening for these. For example, on trumpet we start with low d
>> and
>> >> low c#.
>> >>
>> >> I know there are lots of variables, such as where the note appears in
the
>> >> chord, etc. but that's way on down the road. Right now I'm after the
>> >> 'inherent' problem notes. Like 2nd space A ? :^)
>> >> netwitt@-----.)
>> >
>> <snip>
>> >All things being equal, bad notes to look out for, but not on all
brands:
>> >
>> >Throat tones - open G, G#, A (you named this one) and Bb are usually
>> >sharp. You can tune at the barrel for these, but often throws other
>> >things out. Experiment with right hand fingers (yes....and pinky) down
in
>> >different combinations for these four notes....will drop pitch.
>> >
>> On some extreme instruments, you can even cover 2nd and 3rd fingers of
the
>> left hand. The only ones that HAVE to be open are LH 1st and thumb. Every
>> instrument is different.
>>
>> >Bb concert (the one you tune them on)....usually sharp......tune at
>> >barrel, but will drop throat tones too low often. Can tune at center of
>> >instrument (between top and bottom joint) on many student grade
>> >instruments.
>> >
>> This has not been my experience, but even if true I'm leary of pulling
the
>> center joint apart for routine tuning. The possibility of the thing
coming
>> apart or at least wobbling while playing it is greater, and the bridge
keys
>> may not function properly on some instruments. Also, the notes a 12th
below,
>> which are almost uniformly flat (see below), will be that much worse. I'd
>> try pulling the bell out a little first (which will still flatten low E
and
>> F). I'd tune the instrument to a different note on a tuner and have the
>> student learn to humor the concert Bb ("with the 'voicing'").
>> <snip>
>> >Low E, F often are flat........don't overblow, and keep the embouchure
>> >firm.
>> >
>> But not pinched. If there's a unison involved, have the other instruments
>> tune to the clarinet notes. This will be more of a problem if you've gone
>> out of your way to flatten concert Bb (the C a 12th above low F) by any
>> means other than embouchure (voicing).
>>
>> >These are the common ones......
>> >
>>
>> Another area that is often a problem in junior high music is the area
above
>> high C. The kids have to be accurate about using their RH pinky - not on
C#,
>> but on all the others above it. D tends to be sharp (I have no idea why).
E,
>> F, and F# (not common in junior high) tend to be flat mostly because of
>> embouchure insecurity. G (more common in high school parts, especially
>> marches) may be unrecognizable. A reed/mouthpiece combo that is too easy
>> will greatly aggravate the flatness, because enough firmness in the
>> embouchure will close the reed. Keeping the embouchure firm, taking
enough
>> mouthpiece, and keeping the lower lip in firm contact with the teeth help
>> with this. Supporting the instrument well with the RH thumb (so the
weight
>> doesn't tend to pull the lips away from the teeth and the mouthpiece out
>> closer to the tip) is, in my experience, an important thing to be careful
of
>> here (everyone sitting up, no slouching, no right hands resting on legs,
>> etc...). In a desperate situation, there are closed fingerings (look in a
>> chart for them) that will tend to be sharper and more stable, but they
are
>> generally recommended to solve specific technical problems (wide leaps,
>> mostly) and can introduce technical awkwardness or timbral changes you
may
>> not like.
>>
>> But you'll never have a problem with most of this. After all, these
>> instruments are all tuned at the factory, n'est-ce pas?
>>
>> Karl Krelove
>>
>>
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 09:04:21 +0000 (GMT)
>From: Roger Shilcock <roger.shilcock@-----.uk>
>Subject: Re: Tomasi "Sonatine Attique"
>
>Specifically, it's the sub-dialect of Ionic Greek spoken in the area of
>Attica -- around and including Athens.
>Roger S.
>
>
>On Mon, 23 Mar 1998, Dr. Ronald P. Monsen wrote:
>
>> Date: Mon, 23 Mar 98 08:14:07 EST
>> From: "Dr. Ronald P. Monsen" <RPMONS00@-----.edu>
>> Reply-To: klarinet@-----.us
>> To: klarinet@-----.us
>> Subject: Re: Tomasi "Sonatine Attique"
>>
>> I believe the term refers to a type of classic Greek--written and spoken.
>> Biblical scholars would probably be your best bet. Or someone on your
>> Classics faculty in Toronto would also be a help.
>>
>> Ron Monsen
>>
>
>------------------------------
>
>Date: Wed, 25 Mar 1998 00:04:24 +1000
>From: "Brian Catchlove" <bcatch@-----.au>
>Subject: Berio Sequenza IXa
>
>I am currently studying the Sequenza IXa of Berio. A recent search of the
>electronic pathways yielded no information about Berio or any of his
>Sequenzas. I would appreciate any suggestions for sites or people to
contact
>that may give me any information regarging the Sequenza IXa. Thanks
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 09:32:04 -0600 (CST)
>From: CARRIE L EISHER <carleish@-----.edU>
>Subject: Re: Insults on the list
>
>Bravo! This needed to be said a long time ago.
>
>On Sun, 15 Mar 1998, Lee Hickling wrote:
>
>> Elliot Oki" <eoki@-----.org> wrote:
>> >well sheesh your band sux then...
>>
>> The only excuse I can think of for this kind of post is immaturity. It is
>> offensive not only to the person to whom such a rude and pointless
message
>> is addressed, but to me and I believe almost every other subscriber to
>> Klarinet.
>>
>> One of the disturbing things about the Web is the way people freely
abuse
>> other people for no good reason, if there is such a thing as a good
reason.
>> Grownups can disagree violently without resorting to insults like this.
>>
>> The only thing Mr. Oki has accomplished by this message is to show the
>> world how much growing up he has yet to do.
>>
>>
>>
>> Lee Hickling <hickling@-----.net>
>>
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 09:50:24 -0600 (CST)
>From: CARRIE L EISHER <carleish@-----.edU>
>Subject: Re: Oboe reed for octave shift
>
>I don't mean to complicate things further, but the mouthlpieces on the
>early clarinets (early 18th century) were about the size of bassoon reed
>today. These clarinets still overblew a 12th. The mouthpiece did not
>reach its modern size until the 1840's.
>Just a thought.......
>
>
>
>On Mon, 16 Mar 1998, George Kidder wrote:
>
>> VERY interesting! I guess I'm not surprised that the oboe reed wouldn't
>> speak, but I am surprised that the bassoon reed overblows an octave.
Does
>> this mean that a) the bassoon reed does not act like a closed-end tube,
b)
>> that the "new" instrument is not a cylindrical bore, or c) that the
theory
>> that seems to require both a) and b) above to overblow a twelfth is not
true?
>>
>> I guess I would be inclined to b): a bassoon reed is still small compared
to
>> the clarinet bore, and the resulting step could do funny things to the
>> acoustics, even if the rest of the pipe was cylindrical. Maybe we need
to
>> borrow a contrabassoon reed and try again?
>>
>>
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 11:01:28 -0500
>From: Detlef Kretschmer <detlef@-----.ca>
>Subject: Re: Tomasi "Sonatine Attique"
>
>>Sounds to me like it might be a play on words. "Son-a-tine-a-tique" type
>>things. It would be pronounced like "sawn-a-teen ah-teek". Attique would
be
>>an attic. Ancient/antique would be "Ancien" or "Antiquiti". I'm not
>>completely fluent, so there may be some expression I'm not familiar with,
but
>>I think the play on words idea sounds right.
>>
>>peter.stoll@-----.ca wrote:
>>
>>> Klarinetters,
>>>
>>> A student is working up this interesting unaccompanied piece, and a
check
>>> of a French dictionary produced a surprise; instead of
"ancient/antique",
>>> attique came out as "Attic/Athenian": can anyone shed some light on what
>>> this might mean in terms of how to play the piece, or why he would
choose
>>> this title? Or is this a mis-translation?
>>>
>>> Thanks!
>>>
>>> Peter Stoll
>>> Instructor, Univ.of Toronto
>
>Nonsens.
>
>Sonatine Attique means little sonata from (or in the manner of) Attika,
>Attika being a region in Greece (aroud Athens).
>
>
>Detlef Kretschmer
>Dipl. Ing., DSc., Prof.
>Dept. Mechanical Engineering
>Laval University
>Quebec, QC, Canada G1K 7P4
>
>Voice (418) 656-5409
>Fax (418) 656-7415
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 10:27:53 -0600 (CST)
>From: CARRIE L EISHER <carleish@-----.edU>
>Subject: Re: Bore size question
>
>Try Wm. H. Stubbins book _The Art of Clarinetistry_. It has a lot of
>useful information of the clarinet and acoustics.
>
>On Sun, 22 Mar 1998, Suzi Crookshank wrote:
>
>> Hi everyone. I'm writing a term paper and I need to know how bore
>> size effects pitch and tone. I already have some books that I'm looking
>> through to find the answer, but I'd appreciate a little help. This has
>> probably already been discussed several times on the list so anyone who
>> knows can e-mail me. Thank you. :-)
>>
****************************************************************************
>> *****
>> Suzi Crookshank
>> suzic@-----.com
>> University of Miami School of Music --
>> in beautiful Coral Gables, Florida
>> Clarinet performance
>> Home: North Aurora, Illinois
>>
****************************************************************************
>> ****
>>
>>
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 17:16:08 +0100
>From: Damiano Fedeli <fedeli@-----.it>
>Subject: Printing music: how?
>
>Hallo folks!
>I would like to know how to print fine sheet music. Do you know good
>(better if shareware!) music processors?
>Thanks.
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 11:42:52 -0500
>From: "Rob Breen" <robert.v.breen@-----.net>
>Subject: Benny Goodman mouthpiece
>
>Just had a chat with a sax player friend who told be about an old
>Benny Goodman signature mouthpiece he's come across. He
>described it as having the initials BG in gold on the front where
>the opening in a Selmer ligature would be, and above that on the
>beak portion of the mouthpiece "Benny Goodman" in script.
>He's wondering if anybody out there has ever seen a mouthpiece
>like this and who might have made and when. Ring any bells
>with trivia wizards?
>
>Regards,
>Rob
>
>------------------------------
>
>Date: Tue, 24 Mar 1998 11:59:09 -0500
>From: "David C. Blumberg" <reedman@-----.com>
>Subject: re:Devienne recordings
>
>Brunner is a real soloist (and one of the best in my opinion). "J.R". (from
>Phila. area, (NOT THE New York J.R.), has own record label) is not. Brunner
>and J.R. are in different professions. J.R. plays on cruise ships.
>D.B.
>
>
>
>
>
>id AA25444; Tue, 24 Mar 1998 00:33:49 -0500 Tue, 24 Mar 1998 00:13:10 -0500
>(EST) Date: Tue, 24 Mar 1998 00:12:57 -0500 From: Michael
>Kolos<MAKOLOS@-----.CA Subject: Re: Devienne Recording The only
>recording I found of this piece was by J.R (name changed to protect the
>guilty).. It was on an LP and was a pretty terrible recording. I played the
>1st movement at a recital this year. I think I have it on tape. It wasn't
>bad... But I doubt you'd want it. A look at Schwann indicated that the only
>recording currently being made is by Eduard Brunner on the Camerata label.
>on "The art of Playing Clarinet". # 25CM 356. Michael Kolos
>
>------------------------------
>
>End of klarinet-digest V1 #780
>******************************
>
>