Klarinet Archive - Posting 000499.txt from 1998/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: RE: [kl] 1234/2341
Date: Mon, 12 Oct 1998 08:30:50 -0400

Roger G.
I don't see why "judgemental" should be a term of abuse. I agree I'm short
of a basis to make any judgement about your own playing - and I'm sorry if
you thought otherwise. What I understood by "accent" *is* what you thought
I meant. However, I don't understand what you're saying here. What is the
"high point in the airstream"? If a teacher said that to me, I would
certainly press him/her (?!) hard to change his/her terminology.
Yours (not actually with hostility),
Roger Shilcock

On Sat, 10 Oct 1998, Roger Garrett wrote:

> Date: Sat, 10 Oct 1998 09:52:18 -0500 (CDT)
> From: Roger Garrett <rgarrett@-----.edu>
> Reply-To: klarinet@-----.org
> To: "'klarinet@-----.org>
> 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:
> > > >
> > > > 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.
>
> On a serious note, it is possible that Roger (that sounds strange saying
> my name) misunderstands what I am saying. I didn't say the high point in
> the melodic contour (I am hoping that is what Roger interpreted) - I said
> the high point in the air stream in conjunction with
> cadence/tension/release point in a phrase. There can be as many as 3
> arrival points within an 8 bar phrase - which would lead to a stair
> stepping approach toward the main arrival point within any given phrase or
> harmonic progression. John Yeh speaks of the stair stepping approach in a
> musical line that shows a clear arrival point.
>
> I sat in a lesson with David Shifrin when we were trying to find a way to
> describe verbally what we do physically to realize a musical line within
> the context of any given work - in this context - a classical era piece of
> literature.
>
> I am hoping that my comments above, spoken very simply and without great
> descriptions, is not taken to mean something that I didn't intend.....it
> is a standard, very traditional approach toward teaching musical line.
>
> I have some problems with anyone taking someone else's post and, without
> finding out if that person had a particular idea that was not clear,
> announcing to an entire list that the idea represents "bad properties of
> American woodwind playing." Roger hasn't heard me play, nor has he seen
> me teach - therefore I find such a comment to be somewhat hasty and
> judgemental.
>
> Roger Garrett
> IWU
>
>
> -------------------------------------------------------------------------
>
>

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