Klarinet Archive - Posting 000430.txt from 1998/10

From: Lee Hickling <hickling@-----.Net>
Subj: RE: [kl] 1234/2341
Date: Sat, 10 Oct 1998 08:53:01 -0400

Roger S wrote:
>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.

in a thread to which Kevin Fay (LCA) contributed
>> > 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.

and I've lost track of how this started. It's all getting too far out for
me. Where accents fall is a matter for the player's understanding of what
the composer probably wanted, filtered through her or his experience and
musical taste.

If the first note of four 16th notes doesn't get a slight emphasis, in
order to preserve clarity of the subdivision and distringuish it from a
triplet or a five-note run, whatever that might be called, then you have a
bland, arhythmic fog. Some scores might call for this. Debussy, for
instance, clearly wanted no strong rhythmic feeling in many of his works.
But on the whole, I think the idea of no accents is utter nonsense.

Lee Hickling <hickling@-----.net>

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