Klarinet Archive - Posting 000498.txt from 1998/10

From: Roger Garrett <rgarrett@-----.edu>
Subj: RE: [kl] 1234/2341
Date: Mon, 12 Oct 1998 08:30:49 -0400

I suspect all clarinetists make accents.......they just don't make them a
regular part of the phrasing process.......that is, unless they are
futhering better properties of American woodwind playing.

About liking accents.......I love them.....when they are part of what is
expected in the music!

Roger Garrett
IWU

On Mon, 12 Oct 1998, Roger Shilcock wrote:

> I suspect both RG and DS actually *make* accents from to time, whether
> they
> like them or not.
> Roger S.
>
>
>
> On Sat, 10 Oct 1998, Roger Garrett wrote:
>
> > Date: Sat, 10 Oct 1998 09:07:21 -0500 (CDT)
> > From: Roger Garrett <rgarrett@-----.edu>
> > Reply-To: klarinet@-----.org
> > To: "'klarinet@-----.org>
> > Subject: RE: [kl] 1234/2341
> >
> > 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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