Klarinet Archive - Posting 000426.txt from 1998/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: RE: [kl] 1234/2341
Date: Sat, 10 Oct 1998 04:14:03 -0400

I don't like this idea at all. It could explain a lot about the
bad properties of American
woodwind playing (not denying there are good ones, too)......
Roger S.

On Fri, 9 Oct 1998, Roger Garrett wrote:

> Date: Fri, 9 Oct 1998 20:31:49 -0500 (CDT)
> From: Roger Garrett <rgarrett@-----.edu>
> Reply-To: klarinet@-----.org
> To: "'klarinet@-----.org>
> Subject: RE: [kl] 1234/2341
>
> On Fri, 9 Oct 1998, Kevin Fay (LCA) wrote:
>
> > The Tabuteau approach was designed to train the player to remove this
> > crutch. In a string of 16th notes, *none* should be accented unless there
> > is a musical reason for doing so.
> >
> > Many pieces call for emphasis of the downbeat. Many fool with the accent,
> > however--because we're thinking oboe, take the Scherzo of Beethoven 6 as an
> > example--where the emphasis is emphatically not on the bar line.
> > Tchaikovsky 4, or Romeo & Juliet. The Grand Partita. These are not
> > marches--why play them like one?
> >
> > Which leads to the real rule--"no false accents!"
>
> Why accent at all? You either head for an arrival point, arrive at an
> arrival point, or come away from an arrival point in classical literature.
> It's that simple - accents are non-essential - but the arrival point is
> indicated by the high point in the air stream combined with (hopefully)
> some kind of cadence/tension/release point in the phrase.
>
> Roger Garrett
> IWU
>
>
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