Klarinet Archive - Posting 000483.txt from 2000/02

From: klar-ANN-ette H Satterfield <klarann@-----.com>
Subj: Re: [kl] Rhythm training, was: daily playing
Date: Thu, 10 Feb 2000 23:52:14 -0500

On Thu, 10 Feb 2000 02:43:15 GMT Tony@-----.uk (Tony Pay) writes:
>On Thu, 10 Feb 2000 01:57:46 +0100, rstein@-----.nl said:
>
>> One point in your comment I missed however, IMHO the most important
>> thing of playing clarinet, or, as to me, any instrument: relaxation.
>> Sometimes, especially in difficult passages, I notice, that my
>> students not only are lifting their fingers unduly high (but see your
>> notes), but also stretch them out as far as possible. And then
>> afterwards press them down as if they had to go through the instrument
>> with their fingers.
>
>The thing is that, as in the case of 'support', we usually do want the
>simultaneous flexing of both of two sets of opposing muscles -- but not
>too much! Thinking 'slow' fingers may lead to more relaxed fingers,
>which is an advantage when trying to combat the difficulty you mention.
>
>On the other hand, it's worth saying that the sort of relaxation in
>playing that we want does include some degree of flexion in opposition.
>"Relaxed attentiveness" in all systems, perhaps captures it.

I made progress with that exact concept.

**** Flexible, fluid motion is even clearer. ******

And that natural motion is curved. That flexible motion can be very
powerful or very light. A joint that is fluid doesn't block energy even
when not in action.

>
>Antony (Note the correct spelling :-)

So do you pronounce differently?

annhall

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