Klarinet Archive - Posting 000934.txt from 1999/10

From: Mark Gustavson <mgustav@-----.com>
Subj: Re: [kl] Booing for slow tempo
Date: Fri, 29 Oct 1999 10:29:40 -0400

With the critic Mr. Schoenberg the Mr. wasn't for "mister" but for a
French word not mentionable on this list.
Mark

Karl Krelove wrote:
>
> > -----Original Message-----
> > From: avrahm galper [mailto:agalper@-----.com]
> > Sent: Thursday, October 28, 1999 10:13 PM
> > To: klarinet@-----.org
> > Subject: [kl] Booing for slow tempo
> >
> >
> > Boos for a slow tempo?
> >
> > The recent postings about the slow tempo of a piano soloist reminds me
> > of another slow tempo player.
> >
> > It was Glenn Gould with the NY Phil playing the Brahms first piano
> > concerto.
> >
> > Leonard Bernstein came out before the playing and told the audience that
> > the tempo of the interpretation was not his but Glenn Gould's.
> > Then Gould came out and proceeded to play the concerto at a snails pace,
> > the first movement at least.
> >
> > There was no booing. Everyone was polite, not necessarily agreeing with
> > it but no booing.
> >
> But, oy-vay, what a nasty review that smart Mr. Schoenberg - you know, the
> one who wrote the music column for the New York Times - wrote the next
> morning in the paper!
>
> Karl Krelove
>

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From donax-m-return-78-archive@-----.com Fri Oct 29 13:32:04 1999
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Date: Fri, 29 Oct 1999 09:07:52 -0500
From: Mark Gustavson <mgustav@-----.com>
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<01JHNUUO5DWEAIC47R@-----.EDU>
Subject: Re: [donax-m] bending notes down

A soft reed on a very open mouthpiece (for example a 1.16) will making
bending easier but using a very close opening with a hard reed will get
similar results. My tip opening is 0.96 and I use #4 v-12 and I can
bend pitches down quite a bit. It really has more to do with the
control of lip pressure and the shape of the oral cavity (varying the
vowel formation of the mouth).

--------------------------------
Mark Gustavson

Jennifer Jones wrote:
>
> Richard Bush wrote:
> > Would you mind going into more detail? Is an open tip more or less flexible than
> > a small tip opening? We can't read your mind and it seems you have something to
> > tell us. Please do.
>
> > Jennifer Jones wrote:
>
> > > It also may be the mouthpiece... large tip opening vs. small tip opening?
>
> Sorry for being so cryptic... There have been so many discussions on
> mouthpiece and reed set up, that I thought it might prompt someone with a bit
> more experience to elaborate.
>
> I think that with a more open tip, there is more room to vary pitch by
> tightening and loosening the embouchure while still getting sound. This is
> just my intuition. I hope somebody who knows more will respond.
>
> I've also noticed that I can usually vary pitches more with soft reeds (Mitchel
> Lurie & vandoren 2.5s & 3s) than what I normally use (vandoren 3.5). It sounds
> like a soft reed and an open mouthpiece might be even better.
>
> Hope I haven't caused more harm than good.
>
> Good luck.
>
> -Jennifer H. Jones
>
>
> > >
> > > Matt Goff wrote:
> > > > > What I am wondering is if anyone has any other ways of thinking about what
> > > > > needs to go on physically to achieve the drop in pitch. Is it something
> > > > > that happens gradually (like you can gradually get lower and lower as you
> > > > > practice it more) or when you can do it, it happens all at once? Any
> > > > > thoughts would be appreciated.
> > > > >

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