Klarinet Archive - Posting 000392.txt from 1998/12

From: "Carl Schexnayder" <carlsche@-----.net>
Subj: Re: [kl] A question of Clarinet Preference
Date: Mon, 7 Dec 1998 22:18:31 -0500

OK, I'm ready for more flames!
CS

>On Sun, 6 Dec 1998, Carl Schexnayder wrote:
><cut text>
>> Even aside from those listed, there are instruments like the Patricola,
Rossi, Howarth, Peter Eaton, Bay, and I'm sure others that I'm not aware of
that are fine instruments.

Neil Wrote:
>Does the "Bay" above refer to Charles Bay? I know he makes accessories,
but are you saying that he now designs whole instruments as well?

Reply: by CS
He has certain Bay Models listed in his catalogue. Maybe he means that
these are professional model clarinets that he alters in different ways.
It's certainly possible that I mis-read the brochure. But your Bay question
gets us off the subject, or the intent of my post, which was to state that I
wish that some band directors AND clarinet teachers were open-minded enough
to make comparisons on their own instead of rigidly sticking to opinions,
(probably not their own to begin with), that may now be, (or may become at a
future date), outmoded!
>
><further cut text>

>Original by CS:
>> As a high school band director, I fully understand why band directors try
to have everyone in the section play the same make and model instrument as
well as the same mouthpiece, reed, ligature combination. It's because
different brands have different idiosynchroncies, different pitch
tendencies, tonal qualities, etc. and you want your section to be
homogenous, to sound as one.
>

Neil Wrote:
I would suspect that homogeneity of sound is not the primary reason
that many band directors are dogmatic about their students' instrument of
choice. The more likely explanation (to my mind) is that they wish simply
to recommend a brand and model which is preceeded by a reputation for high
quality with few major problems.
<snip>
(Then) he can be reasonably certain that his students are not afflicted with
any serious mechanical or acoustical design problems.

Reply by CS:
Yes, but isn't it his job lt find out, or at least try to find out, whether
something new is better or not?

Neil Wrote:
I suspect that many high school band directors (and even into college) are
still ignorant of the new and varied alternatives which have arisen to
challenge the R-13. So they dutifully and dogmatically continue to push the
Buffet,

Reply by CS:
AHA! My point precicely!!!!!

<snip>

Neil Wrote:
The teacher himself typically knows no better than his students which
clarinet is "best", so he talks to a local pro in one of the orchestras
(could be regional, could be the NY Phil) --or perhaps the guy behind the
counter at his local music shop -- and adopts that person's recommendation
as gospel, assuming that this "authority" person has knowledge of such a
sophistication as to be interpreted as such.

Reply by CS:
I suppose I'm not the type to take someone's recommendation at face value.
I want to HEAR the difference and that doesn't only apply to instruments I
play, but to all of the sounds coming from my band! Now, I grant you that I
haven't heard everything that's on the market right now, but I certainly am
working on it!

And don't forget, these are not just band directors we're talking about. I
also mentioned clarinet teachers! Don't you think THEY should be trying to
find out whether something new is better or not?

And what if the student's idea, (or the "authority" down the street's idea),
is that a good sound should remind one of the quacking of a duck? This
teacher recommends an instrument that sounds that way because he has it on
"authority" that clarinets should sound like that? So this teacher should,
first of all, accept that premise and then do his best to make help the
student become the very best "Duckinet" player in the business!

><further cut text>
>

Original by CS:
But, if you know where you're going to college, you may want to find out
what the clarinet teacher or band director considers acceptable.

Neil Wrote:
This is not a suggestion I would offer anybody who is considering
majoring in music. If anything is coming 'round to full acceptance
these days in clarinet performance, it's the concept that the brand
of pro-model clarinet you play has very little to do with the quality
of your musicianship, or even your tone (despite the marketing hype).
A student should not base a purchase decision on what somebody else thinks
is "acceptable", but rather on the basis of what works best
for that particular student and based on knowledge of the properties which
are understood to be desirable in a clarinet. Without a sophist-
ication of knowledge about which properties are most desirable in a
clarinet, the private instructor is probably the next best resource,
and that instructor should not be prescriptive with his advice. Rather,
the teacher's role should be to educate the student about the intricacies of
instrument quality, guiding him/her based on professional experience.

Reply by CS:
First you say the student should buy whatever instrument he likes, which
could be a purple plastic model which he picks for the COLOR, but not the
tone color! Then you say that he is incapable of knowing the "intricacies
of instrument quality". I have never coerced any of my students to buy a
particular instrument, but always had them try what was available.
Furthermore, it doesn't sound as though you are talking about the same
teachers who often know less than their students about what is good!!!!!!!

Neil Wrote:
There will be bias, and sometimes this is good and necessary, depending on
how much or little the student already understands about what makes a
clarinet a "good" clarinet. My own college instructor, Don Carroll of the
San Francisco symphony, "saved me from myself" by insisting that I buy one
particular Buffet A clarinet over another particular A clarinet (I was
already settled on Buffet at the time), because he knew that I was
inexperienced and had the wrong idea about what made one instrument better
than the other. Years later, I realized that I had acquired an incredible
gem -- an A clarinet that I've never seen matched by any other in my
orchestral experience in terms of ease of playing and evenness of tone. The
point of this, however, is that Don did not just say, "Buy this one. I'm
telling you, so do it because I say so." He explained in general terms,
based on his decades of professional experinece, which properties are most
important in an A clarinet, and then asked, "Now, based on this information,
which instrument do you think is likely to serve you best in the long run?"
And I chose.
Neil

Reply by CS:
This doesn't sound like the same incompetent teachers you referred to
earlier! The thing is that both of us have presented valid points.
Actually, some of the things you said validated things that I had stated
previously. I really didn't mean to step on anyone's toes in the original
post. I was simply trying to give a sincere response to a statement which
was made in an earlier post. I don't need anyone to tell me that my ideas
are not likely to be readily acceptable by some. I've always known that!
But, one thing I have always believed, (for myself, at least), is that there
is no way for me to get along with myself if I'm not sincere about who I am
and what I believe. So, I've stated some of my opinions, not as fact, but
as opinions. Now, you've stated yours. We should both be satisfied. Others
can look at both sides and determine for themselves what they believe,
(which could very well be neither point of view). I do know that whatever I
can find that will make my band sound even minutely better, (according to my
own concept), is what I'll go for. And yes, I tend to answer sarcasm with
sarcasm, but I don't use it unless I've first been on the receiving end!

Carl Schexnayder

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