Klarinet Archive - Posting 000093.txt from 2000/04

From: Gary Truesdail <gtruesdail@-----.us>
Subj: [kl] Re: klarinet Digest 2 Apr 2000 08:15:00 -0000 Issue 2149
Date: Mon, 3 Apr 2000 19:05:31 -0400

--------------C8F075EF61B7F9621A94542C

klarinet-digest-help@-----.org wrote:

> klarinet Digest 2 Apr 2000 08:15:00 -0000 Issue 2149
>
> Topics (messages 28205 through 28220):
>
> info and judgement-- was Reed Vibration
> 28205 by: David Blumberg <reedman@-----.com>
> 28209 by: klarANNette h satterfield <klarann@-----.com>
>
> URGENT WARNING
> 28206 by: LeliaLoban@-----.com
> 28208 by: Jennifer Jones <JJONES@-----.EDU>
>
> Mouthpiece facings
> 28207 by: Bill Hausmann <bhausman@-----.com>
>
> Introductory Clarinet Books
> 28210 by: CEField@-----.com
>
> On Clarinets and Reeds
> 28211 by: "Bryan Cholfin" <cranked@-----.net>
> 28214 by: David Blumberg <reedman@-----.com>
> 28215 by: GrabnerWG@-----.com
>
> Score for Russian Dance
> 28212 by: gdubac <gdubac@-----.com>
>
> Score for Russian Dance- publisher
> 28213 by: gdubac <gdubac@-----.com>
>
> Mouthpiece facings and dental structures
> 28216 by: GrabnerWG@-----.com
> 28220 by: Nancy Buckman <znjb@-----.net>
>
> Need help from list........
> 28217 by: GrabnerWG@-----.com
>
> New music files.
> 28218 by: Oliver Seely <oliver@-----.EDU>
>
> The Curse of the Stolen Viola
> 28219 by: KlarBoy@-----.com
>
> Administrivia:
>
> To subscribe to the digest, e-mail:
> klarinet-digest-subscribe@-----.org
>
>
> To post to the list, e-mail:
> klarinet@-----.org
>
> ----------------------------------------------------------------------
> Date: Sat, 01 Apr 2000 16:43:28 -0500
> To: klarinet@-----.org
> From: David Blumberg <reedman@-----.com>
> Subject: Re: info and judgement-- was Reed Vibration
> Message-Id: <4.2.2.20000401164135.01ede100@-----.1>
>
> Ann wrote:
> >Are you talking about Community Orchestra players?
> For someone who has a great deal of information and knowledge and
> ability, this comment is a Cheap Shot.
> People who sneer seem insecure about their own abilities.
> And in a public forum that includes community orchestra, band and all
> levels of serious amateur players and musicians, I don't know why you
> seem to be insulting some of the very people who are buying your
> accompaniments.
> Anyone can have an opinion, though some are more qualified than others.
> Much of the same idea can be expressed as observation and information.
> Information is useful and lasts longer.
> an example...
> student plays a classical passage with edgy, loud sound.
> as a teacher, I can say, " I don't like your tone, it is too harsh."
> or I can say, "This section sounded angry. does that fit the music? is
> that what you want to
> express?"
> another example:
> comment from musician in audience after performance, "That was a great
> effect when you answered the cello solo, almost inaudible."
> Very interesting, because I didn't intend to be that soft. And I played
> some passages
> differently after that. And I was more open to the comment because it
> was intended as a compliment, and much more informative than 'you played
> well'.
> and:
> I wondered if I was in balance, or even audible in a tune during a
> Dixieland section. So I asked ahead of time for a buddy to tell me if he
> could hear the clarinet in that section.
> His answer, "yes, I could hear the clarinet 6ths to the trumpet."
> Information. Great stuff.
> annhall on the soapbox...
> ````````````````````````````````
> Ann Satterfield
> clarinetist and teacher
>
> ----------------------
>
> Ann - you don't get my point.
> He made a statement that it seemed directed at Professional Orchestral
> Clarinetists, and I disagreed. That was all. Was not meant at all as an insult.
>
> David Blumberg
> music@-----.com
> http://www.mp3.com/mytempo
> http://www.mytempo.com
> ---------------------------------------------------
>
> ------------------------------
>
> Date: Sat, 01 Apr 2000 19:47:00 EST
> To: klarinet@-----.org
> From: klarANNette h satterfield <klarann@-----.com>
> Subject: Re: info and judgement-- was Reed Vibration
> Message-ID: <20000401.201906.11831.0.klarann@-----.com>
>
> On Sat, 01 Apr 2000 16:43:28 -0500 David Blumberg <reedman@-----.com>
> writes:
>
> >
> >Ann - you don't get my point.
> >He made a statement that it seemed directed at Professional Orchestral
> >Clarinetists, and I disagreed. That was all. Was not meant at all as
> >an insult.
>
> David,
> I got your point and (even) agreed with you.
>
> What i don't understand how the comment--
> >Are you talking about Community Orchestra players?<
> -- helped your arguement that the description of professional orchestra
> players was not justified.
>
> Ann
>
> ````````````````````````````````
> Ann Satterfield
> clarinetist and teacher
> ````````````````````````````````
>
> YOU'RE PAYING TOO MUCH FOR THE INTERNET!
> Juno now offers FREE Internet Access!
> Try it today - there's no risk! For your FREE software, visit:
> http://dl.www.juno.com/get/tagj.
>
> ------------------------------
>
> Date: Sat, 1 Apr 2000 17:20:54 EST
> To: klarinet@-----.org
> From: LeliaLoban@-----.com
> Subject: [kl] URGENT WARNING
> Message-ID: <bc.336828b.2617d046@-----.com>
>
> Vinquist wrote,
> >BEWARE THE PANDA MENACE
> >
> >DO NOT BELIEVE THE CHINESE PROPAGANDA
> >
> >These little buggers may look cute, but they are a deadly menace to the
> >world's clarinettists. You don't believe me? WHAT DO YOU THINK THEY >EAT?
>
> >************BAMBOO**********
> >
> >That's right, they eat the one thing essential for clarinet playing -- the
> >lifeblood of our profession.
>
> Just to be a total killjoy pedant (on April Fool's Day, no less -- gad!),
> reed cane is the species Donax, which isn't bamboo. Asian bamboos belong to
> the species Polygonam. Too bad Pandas are so rare and hard to keep, and too
> bad they're *bears* (major claws, etc. -- not as cuddly as they look),
> because gardeners who've got this terrible weed taking over their yards (or
> migrating from the neighbors' yards) would probably love to keep a pair of
> roly-poly Pandas to thin out the bamboo!
>
> Lelia
> ~~~~~~~~~
> It's a thankless job, but I've got a lot of Karma to burn off.
>
> ------------------------------
>
> Date: Sat, 01 Apr 2000 16:03:59 -0700 (PDT)
> To: klarinet@-----.org
> From: Jennifer Jones <JJONES@-----.EDU>
> Subject: Re: [kl] URGENT WARNING
> Message-id: <01JNQ7JFF5928WWD9Z@-----.EDU>
>
> > Vinquist wrote,
> > >BEWARE THE PANDA MENACE
> > >
> > >DO NOT BELIEVE THE CHINESE PROPAGANDA
> > >
> > >These little buggers may look cute, but they are a deadly menace to the
> > >world's clarinettists. You don't believe me? WHAT DO YOU THINK THEY >EAT?
>
> > >************BAMBOO**********
> > >
> > >That's right, they eat the one thing essential for clarinet playing -- the
> > >lifeblood of our profession.
>
> > Just to be a total killjoy pedant (on April Fool's Day, no less -- gad!),
> > reed cane is the species Donax, which isn't bamboo. Asian bamboos belong to
> > the species Polygonam. Too bad Pandas are so rare and hard to keep, and too
> > bad they're *bears* (major claws, etc. -- not as cuddly as they look),
> > because gardeners who've got this terrible weed taking over their yards (or
> > migrating from the neighbors' yards) would probably love to keep a pair of
> > roly-poly Pandas to thin out the bamboo!
>
> > Lelia
> > ~~~~~~~~~
> > It's a thankless job, but I've got a lot of Karma to burn off.
>
> Actually, Donax is the specific epithet; The species would be Arundo donax.
> Same for Polygonam, except I don't know its genus. ;-) It's a common
> mistake. My father, who has his Ph.D. in Palaeobotany, has corrected me
> several times on this too.
>
> Jennifer H. Jones
> Freshman UC Riverside Botany major
>
> ------------------------------
>
> Date: Sat, 01 Apr 2000 16:43:36 -0500
> To: klarinet@-----.org
> From: Bill Hausmann <bhausman@-----.com>
> Subject: Re: [kl] Mouthpiece facings
> Message-Id: <3.0.1.32.20000401164336.01e9d868@-----.com>
>
> At 07:43 AM 4/1/2000 +0200, Thomas Schaffner wrote:
> >How about the human factor, i.e. fleshy vs. thin lips, position of teeth,
> >control of lip pressure? Are there general rules as well? I prefer softer
> >reeds and longer, more open facings. They give me better control of my
> >sound. I suspect my preference is based essentially on embouchure which in
> >turn depends on individual anatomic features.
> >
> Different playing situations can alter one's choice of setup, too. Right
> now I am playing in a pit band doing "Crazy for You." I don't have an Eb
> clarinet, but the part is double-written so you can play on Bb without
> transposing. The downside is that it requires one to play up as high as
> altissimo A. The only setup I have come up with that works up there, given
> the equipment I have available to me, is an O'Brien OB* (quite closed) with
> a Mitchell Lurie 4 1/2 reed. That's the stiffest thing I have EVER played,
> yet it works for the situation. For concert band section work lately I
> have been using that mouthpiece also, but with a 4. For big band and other
> playing I use a much more open mouthpiece and an ML 3 or Vandoren 2 1/2!
> The close facing is easier to control intonation on, but for jazz the
> flexibility is a plus. Just another factor to complicate the choice!
>
> Bill Hausmann bhausman@-----.com
> 451 Old Orchard Drive http://www.concentric.net/~bhausman
> Essexville, MI 48732 http://homepages.go.com/~zoot14/zoot14.html
> ICQ UIN 4862265
>
> If you have to mic a saxophone, the rest of the band is too loud.
>
> ------------------------------
>
> Date: Sat, 1 Apr 2000 20:48:11 EST
> To: klarinet@-----.org
> From: CEField@-----.com
> Subject: Introductory Clarinet Books
> Message-ID: <bb.210fa15.261800db@-----.com>
>
> While I intended to post this sooner, I hope it's not too late to mention Abe
> Galper's method book for the beginning clarinetist. The book is available
> from Luyben Music (800-2-luyben).
>
> Abe's main focus is on good TONE. Most of the material in his first method
> book is slurred, with minimal articulation. The book starts with simple
> notes, leading up to
> melodies based on nursery tunes and folk songs. Most of the music has
> accompaniment chords.
>
> There are over-the-break exercises, but fully one-half of the book is devoted
> to the lower register. The chalumeau, Abe firmly believes, is the foundation
> for a good clarinet tone. Of course, the lessons in Abe's book also teach
> basics such as use of the left and right hand keys.
>
> In short, Abe's book contains the fundamentals but adds a special emphasis on
> tone. His is not a book that you proceed through in linear, lesson-a-day
> sequence. Instead, the emphasis is on slow, thoughtful repetition. Or, as Abe
> would say, "Practicing perfectly makes perfect."
>
> Cindy
>
> Cynthia E. Field, Ph.D.
> Wakefield, RI
>
> ------------------------------
>
> Date: Sat, 01 Apr 2000 21:00:20 -0500
> To: klarinet@-----.org
> From: "Bryan Cholfin" <cranked@-----.net>
> Subject: Re: [kl] On Clarinets and Reeds
> Message-Id: <200004020212.SAA11558@-----.net>
>
> ----------
> >From: David Blumberg <reedman@-----.com>
> > You can turn the barrel around to different positions, and make a mark
> > where it feels, sounds best. Then do the same thing for the bell.
> > Doesn't do wonders, but may help a little.
>
> Well, I'm glad to know it's not just me. Sometimes I put my clarinet
> together, and it's squeaky and stuffy, but then will be fine if I take it
> apart and put it back together again, or rotate the bell some. Seems like I
> should pay closer attention to where the pieces are when it's playing well.
>
> --Bryan
>
> ------------------------------
>
> Date: Sat, 01 Apr 2000 23:37:32 -0500
> To: klarinet@-----.org
> From: David Blumberg <reedman@-----.com>
> Subject: Re: [kl] On Clarinets and Reeds
> Message-Id: <4.2.2.20000401233319.024f4ca0@-----.1>
>
> "Bryan Cholfin" <cranked@-----.net> Subject: Re: [kl] On Clarinets and
> Reeds ---------- >From: David Blumberg <reedman@-----.com> > You can turn
> the barrel around to different positions, and make a mark > where it feels,
> sounds best. Then do the same thing for the bell. > Doesn't do wonders, but
> may help a little. Well, I'm glad to know it's not just me. Sometimes I put
> my clarinet together, and it's squeaky and stuffy, but then will be fine if
> I take it apart and put it back together again, or rotate the bell some.
> Seems like I should pay closer attention to where the pieces are when it's
> playing well. --Bryan
>
> --------------------------------
>
> No, I wouldn't go that far. Maybe there is a leak in your instrument. It's
> a really, really subtle difference.
>
> David Blumberg
> music@-----.com
> http://www.mp3.com/mytempo
> ---------------------------------------------------
>
> ------------------------------
>
> Date: Sun, 2 Apr 2000 01:04:24 EST
> To: klarinet@-----.org
> From: GrabnerWG@-----.com
> Subject: Re: [kl] On Clarinets and Reeds
> Message-ID: <57.3cae839.26183ce8@-----.com>
>
> In a message dated 3/31/00 10:03:02 PM Central Standard Time,
> Lucas11235@-----.com writes:
>
> <<
>
> 2. I was once told that the logo stamps on each piece of a clarinet should
> be aligned to insure the instrument is playing at its maximum potential.
> Is
> there any truth to this? I'm particularly curious about Buffet instruments
> since I play an R-13. Perhaps you could best answer this one, Mr. Kloc.
>
> In the "old days" a clarinet was supposedly made from a single billet of
> wood, and the theory was that aligning the logos aligned the grain of the
> wood and made for superior playing qualities.
>
> This probably needs to be relegated to the status of folklore.
>
> With the shortage of aged Grenedilla wood, clarinet are probably made from
> what ever pieces are lying about and available.
>
> This does not mean however, that you cannot find a "sweet spot" for your
> barrel or bell. It is not, however, necessarily in line with the logos.
>
> Walter Grabner
> hand-crafted clarinet mouthpieces
> www.clarinetxpress.com
>
> ------------------------------
>
> Date: Sat, 01 Apr 2000 22:23:51 -0500
> To: klarinet@-----.org
> From: gdubac <gdubac@-----.com>
> Subject: Score for Russian Dance
> Message-ID: <38E6BD47.27E9D791@-----.com>
>
> Dear List Members:
>
> HELP. I just received Sidney Forrest's handwritten band parts for
> Simeon Bellison's arrangement of the Russian Dance from "The Lake of the
> Swans" by Tchaikovsky. There is no score for the conductor. My son is
> supposed to be playing this with his high school band in one month. Mr.
> Forrest also says that this music is no longer in print.
>
> Can anyone verify whether the score can be bought? I checked the
> Southern Music Web Page. Not there.
>
> Does anyone have a copy of the conductor's score that I could borrow?
> I'll pay the FedEx charges both ways. I have located piano
> accompaniment - and I suppose that this may work if I can't find a
> score.
>
> Feel free to respond at gdubac@-----.com
>
> Judy
>
> ------------------------------
>
> Date: Sat, 01 Apr 2000 22:31:30 -0500
> To: klarinet@-----.org
> From: gdubac <gdubac@-----.com>
> Subject: Score for Russian Dance- publisher
> Message-ID: <38E6BF12.9A63743D@-----.com>
>
> Sorry for not doing my research on the clarinet stand before I sent the
> last message. The publisher is Carl Fischer and the copyright is 1941.
> Will try to find out myself if it is still in publication.
>
> Judy
>
> ------------------------------
>
> Date: Sun, 2 Apr 2000 01:04:25 EST
> To: klarinet@-----.org
> From: GrabnerWG@-----.com
> Subject: Re: [kl] Mouthpiece facings and dental structures
> Message-ID: <d.317d2b9.26183ce9@-----.com>
>
> In a message dated 4/1/00 12:46:25 AM Central Standard Time,
> schaffne@-----.ch writes:
>
> << How about the human factor, i.e. fleshy vs. thin lips, position of teeth,
> control of lip pressure? Are there general rules as well? I prefer softer
> reeds and longer, more open facings. They give me better control of my
> sound. I suspect my preference is based essentially on embouchure which in
> turn depends on individual anatomic features.
> >>
> Here's a whole area of research based on facing/reed strength and lip
> size/and jaw position.
>
> What kind of facing is best for a person with and extreme underbite? An
> overbite?
>
> I have no empirical data, but I imagine that these factoes would have a great
> deal of influence on which facing will be favored by which person.
>
> In my researches, I have seen no information regarding this. As a maker and
> finisher of mouthpieces, this could be of significant value in fitting a
> mouthpiece to a particular individual. Otherwise, am I only making
> mouthpieces for people with the same dental structure as my own?
>
> Walter Grabner
> www.clarinetxpress.com
>
> ------------------------------
>
> Date: Sun, 02 Apr 2000 04:04:29 -0400
> To: klarinet@-----.org
> From: Nancy Buckman <znjb@-----.net>
> Subject: Re: [kl] Mouthpiece facings and dental structures
> Message-Id: <2.2.32.20000402080429.006a0c38@-----.net>
>
> Walter,
>
> You might be on to something. I have had a very bad time with my jaw and TM
> joint disorder. Most of it was by virtue of the shape and size of my face.
> Because of extensive loss of bone in the joints themselves and successive
> surgeries, I have had to modify my mouthpieces over time. I'm speaking of a
> period of +/- twenty years. Does that help any?
>
> Nancy
>
> At 01:04 AM 04/02/2000 EST, you wrote:
> >In a message dated 4/1/00 12:46:25 AM Central Standard Time,
> >schaffne@-----.ch writes:
> >
> ><< How about the human factor, i.e. fleshy vs. thin lips, position of teeth,
> > control of lip pressure? Are there general rules as well? I prefer softer
> > reeds and longer, more open facings. They give me better control of my
> > sound. I suspect my preference is based essentially on embouchure which in
> > turn depends on individual anatomic features.
> > >>
> >Here's a whole area of research based on facing/reed strength and lip
> >size/and jaw position.
> >
> >What kind of facing is best for a person with and extreme underbite? An
> >overbite?
> >
> >I have no empirical data, but I imagine that these factoes would have a great
> >deal of influence on which facing will be favored by which person.
> >
> >In my researches, I have seen no information regarding this. As a maker and
> >finisher of mouthpieces, this could be of significant value in fitting a
> >mouthpiece to a particular individual. Otherwise, am I only making
> >mouthpieces for people with the same dental structure as my own?
> >
> >Walter Grabner
> >www.clarinetxpress.com
> >
> >---------------------------------------------------------------------
> >Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> >Subscribe to the Digest: klarinet-digest-subscribe@-----.org
> >Additional commands: klarinet-help@-----.org
> >Other problems: klarinet-owner@-----.org
> >
> >
>
> Nancy E. Buckman
> Pasadena, Maryland USA
> znjb@-----.net
>
> ------------------------------
>
> Date: Sun, 2 Apr 2000 01:04:28 EST
> To: klarinet@-----.org
> From: GrabnerWG@-----.com
> Subject: Need help from list........
> Message-ID: <4e.3a16538.26183cec@-----.com>
>
> I have a question for any of you out there who care to experiment a bit.
>
> Would you take a moment, and while holding a straight edge against the table
> of your mouthpiece, look toward a light source and see if you can see light
> between the table and the straight edge at any point except the actual facing?
>
> If you do, you are playing on a mouthpiece with a concave table.
>
> Please lets not deluge the list with arguments or opinions regarding the
> viability of concave vs flat tables. Lets take an honest look at what we are
> playing on and report the facts. We might find some interesting results.
>
> Walter Grabner
> www.clarinetxpress.com
>
> ------------------------------
>
> Date: Sat, 01 Apr 2000 23:19:02 -0600
> To: klarinet@-----.org
> From: Oliver Seely <oliver@-----.EDU>
> Subject: New music files.
> Message-id: <01JNQMH2B4AM0000H3@-----.EDU>
>
> The Schubert D. 72 Octet for winds is ready for downloading and your
> playing pleasure.
> There are two different trios to be played with the 3rd movement Menuetto,
> so I've created
> separate .MUS and MIDI files using each of the trios.
>
> It's not an unappealing piece but I confess a bit of a letdown after
> Beethoven's Opus 16
> which I finished several weeks ago. The up side is that it is can be
> easily mastered by someone of modest accomplishment.
>
> Happy playing all!
>
> Oliver
> http://chemistry.csudh.edu/oliver/clarmusi.htm
>
> ------------------------------
>
> Date: Sun, 2 Apr 2000 03:52:47 EDT
> To: klarinet@-----.org
> From: KlarBoy@-----.com
> Subject: The Curse of the Stolen Viola
> Message-ID: <12.2c6ba40.2618564f@-----.com>
>
> From: orchestra-l@-----.org (Orchestra-L)
> To: orchestra-l@-----.org (Multiple recipients of ORCHESTRA-L)
>
> Thursday March 30 8:02 AM ET
> Woman Sentenced in Viola Murder Plot
>
> CHICAGO (AP) - A woman who stole a rare Italian viola from a junk
> dealer, conspired to have him murdered and later married him, has been
> sentenced to two years in federal prison.
>
> Wednesday's sentence ended a strange saga that went awry when Quintella
> Benson and her co-conspirator hired an undercover FBI agent masquerading
> asa professional killer to bump off Boisie Watson.
>
> Benson, 35, pleaded guilty to federal murder conspiracy charges last
> August. She could have been sentenced to five years in prison but got a
> break from U.S. District Judge William Hart who noted that she helped
> prosecutors to gather evidence against her co-conspirator, Robert Heiss,
> a 73-year-old cookie maker and building owner with severe money trouble.
>
> The 274-year-old Dom Nicolo Amati viola belonged to the Chicago Symphony
> Orchestra. It had been left on the sidewalk by one of the musicians and
> purchased by Watson for $90 at a flea market.
>
> Benson, then Watson's common-law wife, admitted stealing the instrument
> from under Watson's bed and giving it to Heiss, who took it to a dealer
> for appraisal. The dealer recognized it as the symphony's and called the
> police.
>
> Benson and Heiss admitted planning to hire a hit man to kill Watson and
> his business partner. But their gun-for-hire turned out to be Frank
> Marrocco, a Chicago-based FBI agent who specializes in posing as a
> professional killer.
>
> Benson and Watson have since reconciled and are now married.
>
> Heiss pleaded guilty to conspiracy in September and was sentenced to
> seven years and three months in prison.
>
> ------------------------------
>
> End of klarinet Digest
> ***********************************

Arundo Donax

Planted in the San Juaquin River, Califorina, before WW2, in hopes of profitable
harvest in the future. Idea was put on back burner and never got off the ground.
Some local players use the stuff but it is hard to find stalks with consistently
spaced and sized pores, hence, varying response and moisture absorbsion rates.
Has anyone else used cane from this area?>

--------------C8F075EF61B7F9621A94542C

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