Klarinet Archive - Posting 000432.txt from 1998/10

From: Roger Garrett <rgarrett@-----.edu>
Subj: RE: [kl] 1234/2341
Date: Sat, 10 Oct 1998 10:07:21 -0400

Hmmmmm.......

I'll call Daivd Shifrin and tell him his advice represented bad properties
of american woodwind playing.

:)

Roger Garrett
IWU

On Sat, 10 Oct 1998, Roger Shilcock 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.
>
>
>
> 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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> >
> >
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