Klarinet Archive - Posting 000482.txt from 2000/02

From: "Danny Ehrhart" <saxman105@-----.net>
Subj: [kl] age of a noblet
Date: Thu, 10 Feb 2000 21:25:28 -0500

Hey all, it's just me, bugging everyone with little pesky questions again.
But I was wondering if anyone knew how to find out the age of a noblet 40 or
80. can't remember which it is and there isn't a way of finding out, the
serial number is B87744. Any help will be appreciated!

Danny Ehrhart

e-mail: saxman105@-----.net
web page: http://saxman105.att.net
----- Original Message -----
From: "klar-ANN-ette H Satterfield" <klarann@-----.com>
Subject: Re: [kl] daily playing

> i have been waiting to join in this interesting discussion of many good
> ideas and angles. here is the way i changed my technique from the
> "clutch and claw" to fast and fluid--and reliable.
>
> from Nik's description, the first things i would check in person are :
> physical barrier of tension AND mental barrier of confusion
> (overwhelm-ment).
>
> ---------solutions
> 1.for tension
> the flexible motion miming (exaggerated in size); floating, stroking,
> dancing fingers.
>
> 2.for confusion;
> identifing the notes and intervals and pitches. to be able to accurately
> hear (and sing) the passage.
>
>
>
> ====SING====
> . Clap pulse. Sing or say note names in rhythm, can be slow
> motion. {can be a measure or even just one beat at a time
> )Singing interval names with accurate pitches is most intense and
> beneficial, note names alone are helpful. Use short interval names to
> stay in
> rhythm: Ho@-----. For
> repeated
> notes interval name is "Same". Can be very slow; one line, measure, or
> beat at a
> time. Aim for steady speed and accuracy. If section is tangled or out
> of rhythm,
> work in smaller units or slower pulse. Practice at tempo in small units.
> ====MIME====
> . Sing or say again, this time with articulation .
> Say Ta, La, or Da, whatever suits the music, for tongued notes; use Ah
> for slurs.
> Mime finger motions while singing. Use swingy, springy, light, dancing
> movements.
> Imagine stroking a sponge clarinet. The thumb joints are the key that
> affects whole
> hand. EXAGGERATE FLUID MOTIONS with correct finger combinations. (Don't
> play realistically, use imagination for freedom). The flexibility
> combined with clear
> aural imagery developed thru this type of practice will be more
> accurate than
> physical training alone.
> ====PLAY====
> short groups, pause. Check for flexibility in neck and shoulders,
> wrists and
> thumbs. (Can you move those joints while playing without affecting sound
> or
> timing?) NEVER REPEAT ANY PASSAGE MORE THAN 4 TIMES,
> concentration fades, tension slips in.
>
>
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> SAMPLE PRACTICE SESSION.
>
> (Tricky scale passage from Barber of Seville overture.) eighth note
> triplets in 2/2 time.
>
> CLAP & NAME
> in slow motion at steady speed. (Ho=whole, ha=half)
>
> "G,same,G,same,G,same,G,ha,#F,ho,E,same,E,ho,D,ho,C,same,
> C,ha,B,ho,A,same,A,ho,G,ha,#F,ha,G."
>
>
> CLAP & ARTICULATE
>
> "Ta,ta,ta,Ta,ah,ta,Ta,ah,ta,Ta,ah,ta,Ta,ah,ta,Taa"
>
>
> NAME & MINE
> Exaggerate connection and separation to reinforce articulation. If
> accurate add speed in multiples or practice longer groups. (Can drop
> sharp and
> flat names to keep rhythmic flow once intervals are clearly established.)
> "G ,g ,g ,Gee,F ,E , Eee,D ,C ,Cee,B ,A ,
> Aaa,G ,F ,Gee."
> or
> "G ,G ,G , Gee,F ,E ,Eee,D ,C , Cee,B ,A
> ,Aaa,G ,F ,Gee."
> (can use other groupings.)
>
> After accurate note names at slow tempo, if tempo too fast for naming
> every note,
> name first note of each group, but sing/think all pitches.
> "G,(G,G) G,(F,E), E,(D,C),C,(B,A),A,(G,F),G."
>
> PLAY
> as sung. String players get to sing while practicing, wind players must
> *think* the note names while playing. Play short groups, pause to check
> for
> flexible joints, go on in rhythm. Cycle back through sing/clap
> sing/mime. Aim is
> accuracy the first time! DO NOT REPEAT IF ACCURATE--Trust yourself and
> the
> system. If not effective, SLOW or SHORTEN passage until accurate.
>
>
> ...................in review......................
>
> EFFECTIVE PRACTICE
> ==============================================================
> * Practice SHORT sections, ACCURATELY.
>
> *Use cycle of: 1.sing/clap, 2.sing/mime, 3.play.
>
> * Can be one measure or one beat at a time. Stop *before* making
> mistakes, pause & check for flexibility, focus and go on. A comfortable
> steady speed in note naming indicates sureness. One slow ac-cur-ate
> prac-tice is better than 10 times fasterrorscrablemess or a confus eds
>
> peed brainoffsla m.
> *
> Add speed in multiples, starting from s l o w m o t i o n.
> ==============================================================
>
> gee, this is hard to accomplish in words only. demonstration is MUCH
> easier.
>
> annhall
>
>
> ~Ann H Satterfield~
> Principal Clarinet Imperial Sym.Orch. Lakeland, Florida
> Instrumental Assistant at PCC.
>
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>
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