Klarinet Archive - Posting 000643.txt from 1999/05

From: "William Fogle" <bfogle@-----.org>
Subj: [kl] blow out, tone, tyros
Date: Fri, 14 May 1999 18:41:50 -0400

For the first time since I began with clarinet, I am playing with other =
musicians in a community orchestra. I have been (what seems to me) that =
most disliked of entities by professional players: the amateur, the tyro. =
I sit in a small section (often just two of us) next to a young woman who =
uses her clarinet almost like a weapon. She is technically very good, but =
her tone and manner of playing is completely in variance with everything =
I've thought, until this time, the clarinet is about. A penetrating sound, =
with aggressive bodily movements intended (I suppose) to accent the =
passages, she is like the trumpeter Gabriel trying to blow down a wall. =
Rapid passages are repeated, during warm-ups, again and again, each time =
faster and more articulated. Phrases are arched with iron will until they =
seem to burst. I'm intimidated! My orchestral goals are: 1. To not ruin =
our exposed passages by squeaking or playing the wrong note, and 2. To try =
and see if there is any way I can get my throat tones to be in tune with =
her and the rest of the orchestra. Her twin Buffets gleam with newness =
under the overheard fluorescent light. I believe I am playing what are =
called blown-out clarinets (1967 "A," 1985 "Bb")! My point is: Wow, so =
this is the clarinet world! So much for that fruity soft flexible sound I =
always dream of getting every time I put on a Reginald Kell lp. Anyone =
else out there ever try to make that move from the living room to the =
platform?
Bill Fogle
Washington, DC

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