Klarinet Archive - Posting 000539.txt from 2000/02

From: Nicholas Yip <nyip@-----.edu>
Subj: Re: [kl] Rhythm training, was: daily playing
Date: Sat, 12 Feb 2000 12:32:49 -0500

Yes, flexibility, patience, and learning the phrases in bits and pieces is
important to me.

At 10:42 AM 2/11/00 -0500, Allen J. Levin wrote:
>No! No! No! Tony is absolutely correct. Playing an instrument is very
>much like olympic biathlon [sp]. Part of you body must work very hard; yet
>it must be totally relaxed. Stiff fingers and/or long "strokes" with the
>fingers are signs of tension. If you are tense the most perfect
>flexibility will only delay fatigue. Why make your body do more work than
>it must. (If you want to do that go get some strenuous exercise.)
>
>Flexibility is only a prerequisite component. Good breathing is at least
>as important. (My wife teaches voice and voice therapy. She was surprised
>to learn that wind players - in general - must breathe exactly as good
>singers who wish to preserve their voices.)
>
> Allen
>
> At 08:40 PM 2/10/00 EST, you wrote:
>>
>>On Thu, 10 Feb 2000 01:57:46 +0100 "Rien Stein" <rstein@-----.nl>
>>writes:
>>>At Wed, 09 Feb 2000 11:26:11 GMT Tony Pay commented finger movements
>>>when
>>>playing.
>>>
>>>Tony, I must thank you. You have made explicit to me, what I have been
>>>trying to teach my students, but never could say so well. I printed
>>>your
>>>remarks, I am quite sure I will re-read them often. 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.
>>
>>I strongly agree, IF you change the term 'relaxation' to flexible motion
>>
>>
>>>
>>>As to the remarks by Walter Grabner, Wed, 9 Feb 2000 12:11:52 EST I
>>>must say
>>>his technique is the same David Pino in his book promotes, and is what I
>>>think we all know. What I often tell my students, is, when they
>>encounter a
>>>particularly awkward passage, to play it from the back: first the last
>>two
>>>notes, then the last three notes, and so on, always starting at a low
>>speed,
>>>but accelerating, till it can be played at a tempo that is experienced
>>as
>>>the correct one.
>>I also like working from the end to beginning.
>>
>>> It helped me master almost everything that is up to my (for
>>>you pro players of course low) level, but sometimes I had, and will
>>have, to
>>>find different ways. It requires some creativity, and that is why, I
>>think,
>>>what makes playing more interesting, than listening.
>>
>>One of the best things i find when i get to a clarinet coach is the
>>varied ways to solve complications.
>>
>>
>>
>>>My two cents
>>>
>>>Rien (note the correct spelling)
>>
>>add my two cents too(grin) are we up to 4?
>>
>>annhall
>>
>>~Ann H Satterfield~
>>Principal Clarinet
>>Imperial Sym.Orch.
>>Lakeland, Florida
>>
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>
>
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