Klarinet Archive - Posting 000865.txt from 1999/12

From: klara <klahall@-----.com>
Subj: Re: [kl] Tschaikovsky No. 6, 1st clarinet - Responses
Date: Sun, 26 Dec 1999 00:33:19 -0500

On Fri, 24 Dec 1999 08:39:41 GMT Tony@-----.uk (Tony Pay) writes:

>[snip]

>I found everything else that you wrote helpful and wise,

well, that comment makes me sit up and smile--and goes into the
be-not-disheartened notebook.

[snip]

> but didn't understand this bit. You meant surely:
>> Then i practice slow motion *staccato*; half speed or quarter
>tempo,....
>...Of course, playing slow motion legato would also be a helpful
preliminary, but I don't think you meant that.

Actually i do mean legato. The legato emphasizes gentle tongue motion
and constant air stream, and makes tongue/finger coordination clear.

This also works well for most of my students, especially the ones who
sledgehammer tongue, and a couple who "diaphragm" tongue. I do practice
slow motion staccato also, but much more of legato slow for staccato
fast.

[snip]
> It's sometimes quite difficult to get people to modulate the degree of
staccato in a
>natural way.
>
At least the string players have different types of bow strokes with
different names. And singers have the different consonants to have the
groundwork for more variety.

[snip]
>I was once teaching a class on a course in Switzerland, where the
>students were mostly American. There were only a few clarinet players
>(though one was Marina Sturm, I recall) -- whereas Bruno Giuranna, the
>violist, had a roomful of eager students. I could only teach so many
>hours a day with few students, so I often went to listen to Bruno's
>classes whilst my students went off to practise.
>
>As you imply, it's often very useful to listen to how able players on
>other instruments approach technical and musical problems.
>
>Bruno was also very entertaining, of course.

Great teachers are magical.

annhall

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