Klarinet Archive - Posting 000809.txt from 1998/04

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: circular breathing
Date: Wed, 15 Apr 1998 23:13:55 -0400

On Wed, 15 Apr 1998, GTGallant wrote:
> I believe the exact opposite is true. Most wind music I've heard is ruined by
> terrible disruption of the musical line by BREATHING.

It certainly can be, but it does not have to be. I remember hearing the
Rachmaninoff 2nd Symphony for the first time.....third mvt........no
breaths......absolutely (breathtaking!.....sorry couldn't resist)
stunning. But, I also like it with appropriate breaths.

> If composers want a
> breath taken at a particular spot, they specify in the score - an expressive
> breath, if you will. The breath mark serves as a brief pause (most of the
> time), not an actual breathing indicator. Otherwise, breath placement is up to
> the performer.

You mean an indicator like a slur mark ending? Or do you mean a comma?
Very vague here.......just want you to be more clear on what you mean.

> It is very limiting to discard circular breathing, just as it
> would be to not learn how to tongue, use vibrato, or play a C major scale. As
> for the Cohler thing, I don't think his circular breathing on Moto was
> artistic. It was a necessary technique or device he needed to pull the piece
> off. It would be better to say his musicianship and phrasing were artistic.

Very good differentiation........well stated.

> If sombody puts a difficult technique down (or a player who can do them), 9
> out of 10 times, that person is jealous and a weak player, IMHO.

Or, in the case of the original posting, it could be that he really didn't
like hearing all the sucking and snorting on the CD, and he really wanted
to hear the natural release of the breath as a break between phrases.
Jealously is awfully nasty to be making accusations about!

Roger Garrett
IWU