Klarinet Archive - Posting 000864.txt from 1999/11

From: Lisa Canjura-Clayton <lisakc@-----.com>
Subj: RE: [kl] pitch bending and the Gershwin Blue Cadenza
Date: Mon, 22 Nov 1999 17:48:13 -0500

At 02:22 PM 11/22/1999 -0800, you wrote:
>To all,
>
>Having played RinB featuring a clarinetist who plays in a Whiteman style
>big-band and who had studied Gorman's recordings, I feel obliged to say that
>the opening glissando is but one element to a successful performance. It
>wasn't until I heard this clarinetist play the entire piece that other
>stylistic elements fell into place. In a solo later in the introduction,
>the score calls out for three slap-tongue notes. In the recordings that I
>have heard, apart from the Whiteman originals, these notes have been played
>straight, no slap-tongue. If, however, the clarinet plays these notes as
>written, i.e., with slap-tongue, that will set up the trumpet entrance
>directly following. Without the slap-tongue, the wah-wah mute of the
>trumpet seems out of context. With the slap-tongue notes, the wah-wah muted
>trumpet fits right in.

Which brings me to a question I've oft pondered but never quite got the
answer to:

Just what is slap-tongue, and how is it done?

Thanks!

Lisa Clayton
lisakc@-----.com

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