Klarinet Archive - Posting 000702.txt from 1999/01

From: Dan Sutherland <dsuther@-----.ca>
Subj: [kl] something for everyone
Date: Sat, 16 Jan 1999 10:53:14 -0500

Buffet R13s.
A colleague has the exceptional fortune of owning and playing an R13 Bb
and a Concerto A. She recently asked my opinion of the A clarinet which I
very briefly tried against my early 70s R13. I enjoyed many qualities the
instrument exhibited in a delicate understated way [the clarinet, not me].
Her concern was compatability. To play the Concerto properly takes a
different approach from that used to play her R13 Bb. She would prefer to
have the Concerto blow more freely, like the R13. I'm not sure what the
serial no. of her horn is but if Mr. Ridenour responds to this I will
certainly ask her.
The Question:
Can some thing be done to the Concerto A to have it more closely match
the qualities of the R13 Bb?
Unaccompanied works for clarinet:
A valuable nugget in the solo clarinet literature resides at the Canadian
Music Centre. A quick look at what is available can be found in the
"sneezy" archives. http://www.sneezy.org/Databases/Logs/1998/04/000600.txt
Please ignore the self important preamble. The Canadian Music Centre has
a web page at http://www.culturenet.ca/cmc/
An undiscovered treasure in the literature are the 32 Concert Etudes by
Elliot Weisgarber. Written in the late 80s they have inspiration from such
diverse sources as the Tui bird from the South Island of New Zealand to
Brahms's late opus piano intermezzi. Weisgarber is a clarinettist and his
etudes exploite, test and mostly celebrate the wonderful resources of our
instrument. They are predominantly tonal and and technical requirements
demand 3 at least years of fairly steady clarinet training.
Unlike previous posts where I welcome views contrary to my own, I
absolutely defy anyone to dismiss Weisgarber's etudes as anything short of
miraculous. I have never met or corresponded with Weisgarber but have
performed and taught his etudes for years. He deserves recognition.
Breath Support:
The fast track.
Breathe in slowly, avoid raising shoulders or lifting upper chest. Tense
your abdominal region as though expecting a blow to that region. Whack
yourself in the mid to lower abdomen with your left hand. Play till you
need to breathe again. Breathe in slowly etc. Keep doing this. You will
understand how breath support works.
Intonation Training:
A request to Tony Pay.
Could you give an example of a standard repertoire piece where you would
apply having a reference pitch playing? Which pitch [tonic, mediant,
dominant, other]?. I find the concept a revelation along with the "why our
pitch is sharp on initial exhalation".
Clarinet Methods:
The Galper series "clarinet for beginners bk.1" is an extremely thorough,
well thought out tutor for the beginner to intermed. student. Refreshing
Qualities;
There is nothing to throw away. Every exercise flows naturally to the
next. The exercises are necessarily brief. Tunes are logically placed after
technical exercises. A great long term resource; It takes most students at
least 2 years to get through. It is used in tandem with many band
programmes here in Northern Alberta.
Drawbacks: My Jewish students are a little reluctant about playing the 4 or
so Xmas Carrols till I suggest to them that they probably originated as
pagan drinking songs. I don't know. I am a little curious as to how Boosey
gave up the rights to such an excellent method book. Now available through
Waterloo.
Bundy Clarinets:
I appreciate being set straight about the positive qualities of this
instrument....But, Don't those rounded ring keys irritate you? And, the
tenon joints ..loose. A wobbly instrument. I stand corrected : An Artly is
an Armstrong is an Artly. I like them.

On that positive note, bye,

Dan.

"I'm right, you're wrong" Eric Sutherland [age 5, by permission]

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