Klarinet Archive - Posting 000541.txt from 2000/02

From: alevin@-----. Levin)
Subj: Re: [kl] Rhythm training, was: daily playing
Date: Sat, 12 Feb 2000 12:32:51 -0500

Ann:

After all of the conversations on this site about confusing descrptions of
playability, I walked right into that swamp. I hesitate to suggest that we
need a standard set of definitions for tension, relaxation, etc.; but I
guess it makes sense to do so.

Are there any suckers - I mean "volunteers" - out there? Surely there
must be some linguists among us.

Allen Levin

At 06:31 PM 2/11/00 EST, you wrote:
>
>
>On Fri, 11 Feb 2000 10:42:41 -0500 alevin@-----. Levin)
>writes:
>
>>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.)
>
>Perhaps I didn't express myself very well--we are aiming for the same
>condition.
>i consider flexibilty and tension as opposites. I aim to get to that
>state directly, not being tense and then reLAXing. LAX is not how to be
>effective with a musical instrument.
>
>>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.)
>
>Also i strongly agree here.
>but i think not-extra-tense is a prerequisite to good breathing. then
>good breathing aids the readiness.
>
>good points!
>
>annhall
>
>Ann Satterfield
>clarinetist and instructor
>
>
>
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