Klarinet Archive - Posting 000431.txt from 1998/10

From: "John Gates" <cadenza@-----.com>
Subj: Re: [kl] 1234/2341
Date: Sat, 10 Oct 1998 09:56:42 -0400

Yes
-----Original Message-----
From: Roger Shilcock <roger.shilcock@-----.uk>
Date: Saturday, October 10, 1998 1:14 AM
Subject: RE: [kl] 1234/2341

>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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