Klarinet Archive - Posting 000723.txt from 2000/04
From: "RJ Carpenter" <emerald1@-----.net>
Subj: [kl] RE: klarinet Digest 17 Apr 2000 08:15:00 -0000 Issue 2185
Date: Mon, 17 Apr 2000 18:07:09 -0400
-----Original Message-----
From: klarinet-digest-help@-----.org
[mailto:klarinet-digest-help@-----.org]
Subject: klarinet Digest 17 Apr 2000 08:15:00 -0000 Issue 2185
klarinet Digest 17 Apr 2000 08:15:00 -0000 Issue 2185
Topics (messages 28876 through 28893):
Idea for old reeds
28876 by: "Aaron Hayden" <haydenmusic@-----.com>
28878 by: "Dan the Rubber Band Man" <saxman105@-----.net>
Eb Clarinet Lovers
28877 by: David Blumberg <reedman@-----.com>
Adjusting reeds
28879 by: Dan sutherland <dsuther@-----.ca>
Subject: re: lame excuse
28880 by: "J. Hobby" <jhobby@-----.net>
Teaching students with piano experience
28881 by: Bill Hausmann <bhausman@-----.com>
good beginner books
28882 by: "J. Hobby" <jhobby@-----.net>
28883 by: "Dee D. Hays" <deehays@-----.com>
28885 by: Cowzgomoo9@-----.com
28886 by: "Dee D. Hays" <deehays@-----.com>
28887 by: "Dee D. Hays" <deehays@-----.com>
28893 by: "Michael Byerly" <jjhugo@-----.com>
reed trimmer:pro or con; was Re: [kl] another half
28884 by: "Patricia Smith" <pattiesmith@-----.net>
Reed trimmers: fact or opinion
28888 by: Neil Leupold <leupold_1@-----.com>
mozart
28889 by: Takumi123@-----.com
28891 by: Shouryu Nohe <jnohe@-----.edu>
Reed Trimmers: fact or ?
28890 by: Don Longacre <nw2v@-----.com>
Some Personal Notes On Dvorak
28892 by: Jubison@-----.com
Administrivia:
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----------------------------------------------------------------------
Date: Sun, 16 Apr 2000 16:15:12 -0400
From: "Aaron Hayden" <haydenmusic@-----.com>
Subject: Re: [kl] Idea for old reeds
Message-ID: <000701bfa7e0$79dcf560$50978ad1=aaron>
I use them as glue sticks in the shop.
Aaron Hayden
----- Original Message -----
From: <MaryWBalch@-----.com>
Subject: Re: [kl] Idea for old reeds
> My undergrad teacher always encouraged us to "make donations" to the reed
> god. When she got enough, she was going to make a lampstand out of the
old
> clarinet and saxophone reeds.
>
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------------------------------
Date: Sun, 16 Apr 2000 17:21:35 -0400
From: "Dan the Rubber Band Man" <saxman105@-----.net>
Subject: Re: [kl] Idea for old reeds
Message-ID: <000d01bfa7e9$d7e6a9e0$c63c4d0c=p166>
do the reeds not mold or turn really wierd colors after time?
Danny Ehrhart
e-mail: saxman105@-----.net
web page: http://saxman105.att.net
aol IM: DannyClarinet
Friendship is one mind in two bodies.
-- Menclus
Look at a stone cutter hammering away at his rock, perhaps a
hundred times without as much as a crack showing in it. Yet at
the hundred-and-first blow it will split in two, and I know it
was not the last blow that did it, but all that had gone
before.
-- Jacob A. Riis
----- Original Message -----
From: "chr" <chr@-----.de>
Subject: [kl] Idea for old reeds
> The room where my husband and I teach at the city music school has one
wall
> covered with reeds. There are literally thousands of reeds on the wall. We
> had boards made which were cut into squares and each board has been
> decorated with reeds arranged in all kinds of ways. Students decorated
their
> old reeds with patterns or with faces for some of the boards. Others were
> colored, or left plain and sometimes cut to fit all kinds of ways. A few
> students who were leaving made a reed board as a present to leave with us.
> One student used a broken mouthpiece and bell and reeds arranged all
around
> it in a very clever way. We have our students save their old reeds for
> future reed boards. We got some of the reeds from the company Steuer from
> reeds they would have discarded but they gave to us instead. We've had a
lot
> of fun with this. Students love doing this too and it makes a nice
> decoration for a clarinet teaching studio.
>
> Cindy in Germany
>
>
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------------------------------
Date: Sun, 16 Apr 2000 17:10:40 -0400
From: David Blumberg <reedman@-----.com>
Subject: Eb Clarinet Lovers
Seans site shortcut (it auto forwards to the correct one) is
www.mp3.com/metopera for his Eb Clarinet Sonata, among others. Just
added his Clarinet Quartet too - cool work.
David Blumberg
music@-----.com
http://www.mp3.com/mytempo
http://www.mytempo.com
---------------------------------------------------
------------------------------
Date: Sun, 16 Apr 2000 17:57:56 -0700
From: Dan sutherland <dsuther@-----.ca>
Subject: Re: [kl] Adjusting reeds
I have before me "The Gomez Tool No.1". It is 3 pieces of plexiglass
secured together with 4 screws with wing nuts which allow adjustment of two
of the plexi plates to enable reed centreing. There are thin red lines
that indicate the correct allignment of the reed. At the business end
there are 5 thin slots of graduated depth, the longest in the centre is
about 5 mm.
At the time of the Gomez [gizmos] Tool's creation [1978] Harold Gomez
was principal clarinet of the National Ballet of Canada Orchestra. He
created the tool in response to the constantly changing conditions of his
reeds while touring.
Of more interest than the tool itself, although the tool could prove
quite a stumper in a "guess what this is" contest, is the companion
pamphlet. It spells out various innovative ways to adjust reeds including
surface scratches to remedy excessive softness, hardness, etc.
I have not used the tool in many years but am not sure why. I know,
finding an extremely thin blade to make the incisions, was one difficulty.
I learned from this that reeds with cracks or cosmetic anomalies are not
always "throw aways".
I believe that Harold Gomez is still in Toronto and may be on faculty at
the Royal Conservatory of Music there.
Dan
Me to my son Eric, age 6. "Some day I will disciplin you the way I want
to."
At 10:03 AM 4/11/00 +0100, you wrote:
>On Tue, 11 Apr 2000 10:57:32 +0800, vahalakv@-----.au said:
>
>> Tony Pay wrote:
>>
>> > On Mon, 10 Apr 2000 20:57:18 -0400, kkrelove@-----.com said:
>> >
>> > > > Oh, one other thing: you can *split* the reed, once or more
>> > > > times, at the tip, down about half a centimetre or so. I tried
>> > > > this about 10 years ago for a few months, but find that I use it
>> > > > relatively rarely now. (There used to be a gadget that did it
>> > > > for you.) It can help with some reeds.
>> > > >
>> > >
>> > > What does this do to the sound or the response?
>> >
>> > It made them, er, *better*:-)
>> >
>> > Tony
>>
>> Tony, Can you describe how you do the splitting - do you produce two
>> thinner adjacent wafers, or do you make "cuts" across the width of the
>> reed?
>>
>> Thanks, Karel.
>
>All this was intended to be a little bit tongue-in-cheek, though
>certainly there was such a device on sale for a bit.
>
>You could make either one or three small incisions, the first being in
>the middle of the reed and the other, optional two on either side of,
>and parallel to the first. If you made one incision you separated the
>right from the left side of the reed a small distance down from the tip,
>and if you made three incisions you divided the breadth of the reed into
>four 'wafers', as you called them.
>
>As I recall, the incisions to right and left of the central incision
>were slightly shorter than the half-centimetre I talked about.
>
>The incisions were made with wafer-thin blades, and amounted to a
>separation of the fibres rather than anything more drastic. A
>safety-razor blade is the right sort of tool, though perhaps you don't
>have such things in the US anymore.
>
>I suppose the 'half-baked explanation' of the procedure might have been
>that it allows one side of the reed the freedom to vibrate a bit
>independently of the other, which could be imagined to break up any
>unwanted torsional vibration of the reed in its entirety. But I'm just
>making that up.
>
>In a way, I'm sorry I mentioned it, because it's a bit gimmicky, and
>might spark off a worldwide epidemic of mangled reeds if we're not
>careful. You're probably better off making sure the response of one
>side of the reed is comparable to the response of the other, something
>that I probably should have said in my original post. You can check
>that either by rotating the mouthpiece in your mouth as you blow, or by
>mounting the reed slightly to one side or the other.
>
>In fact, just mounting the reed slightly to one side or the other on the
>mouthpiece can often improve it a great deal, and it's something that
>many students don't think of trying seriously. After all, it's a
>reversible change, unlike anything you do with a knife....
>
>And if it disturbs your sense of elegance to have your reed skew-whiff
>on your mouthpiece, recall that Amati violins are quite 'crudely' made.
>
>Vibrational elegance doesn't necessarily correspond to physical
>elegance. (As the archbishop said to the actress.)
>
>Tony
>--
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE www.gmn.com/artists/welcome.asp
> tel/fax 01865 553339
>
>... The reader of this tagline exists only while reading me.
>
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>
------------------------------
Date: Sun, 16 Apr 2000 20:19:04 -0500
From: "J. Hobby" <jhobby@-----.net>
Subject: Subject: re: lame excuse
Message-ID: <003401bfa80a$ec0ede80$91374fd8=v6f6r9>
It's not just for regular paid students, either. I don't teach, now, but my
grandsons came to spend spring break with me, and Greg wanted me to help
him on his trumpet. (I know. I'm a clarinet player, but I was a band
director and taught a lot of kids.) Greg (& Mike) arrived. Trumpet
arrived. Mouthpiece was in his band room locker, 250 miles away. Made it
somewhat difficult to work on tonal projection. <g> (I even went so far as
to go to the only music store w/n 50 miles to buy a new mpc for him. They
had nothing but some really strange facings! (i.e. 14C!!!))
Jim
>From: David Blumberg <reedman@-----.com>
>Now for a poll -- what is the lamest excuse you private teachers have ever
>dealt with, for a student that didn't show up (or some other related
>stupidity)?
------------------------------
Date: Sun, 16 Apr 2000 21:24:51 -0400
From: Bill Hausmann <bhausman@-----.com>
Subject: Re: [kl] Re: Teaching students with piano experience
At 10:40 AM 4/16/2000 -0400, Don Longacre wrote:
>
>Patty Smith writes:
>>I am interested in the experiences of the private teachers on the list in
>>regard to new students who have already had some piano. How much of an
>>advantage does this give to the student, in your opinion?
>
>Patty: IMHO it is of enormous benefit to have piano experience prior to
undertaking
>any new instrument. In my humble opinion, too, it lies largely in the
area of sight
>reading and general familiarity with music notation. It is my belief that
in taking
>up another instrument there may be problems arise but they are independent
of piano
>experience...
Amen to that! I took up clarinet as a senior in high school, after having
previous piano experience (plus choral experience and some guitar) which, I
am sure, is the only reason the director would have taken a chance on me.
Having the music notation, theory, and general musicality-type background,
I was able to pick up the basic operation of the instrument in a very short
time. I was able to join the rest of the group (admittedly not a
class-A-type band, but a non-competitive parochial school non-marching
band) as a third clarinet and keep up relatively well after only two months
of independent study. And there is nothing like a little early success to
motivate one to keep going!
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: Sun, 16 Apr 2000 21:09:30 -0500
From: "J. Hobby" <jhobby@-----.net>
Subject: [kl] good beginner books
Message-ID: <004201bfa811$f80ee7a0$91374fd8=v6f6r9>
>From: "Dee D. Hays" <deehays@-----.com>
>These arguments sound a great deal like those that were used to justify the
>"whole word" method of teaching reading. "Afterall is the words that have
>meanings not the individual letters and sounds."
There's no need to justify the "whole word" method of teaching reading.
People taught to read by the whole word method, or by a combination of
whole word and phonics, are better readers than those taught by phonics,
alone. (By the way, "after all" is two words.)
>The net results was students who could not read any word that they
>had not specifically been taught.
Dictionaries are such wonderful things. (And it's either "result was" or
"results were".)
>They could not figure out words that they had not seen before even
>if it was part of their spoken vocabulary. These students had the poorest
>communication skills ever.
I'll rush out and tell the bank presidents and other civic leaders in the
community
who learned by that method how poor their communication skills are.
>Yet taking the approach of teaching the individual elements (called
"phonics")
>was successful and it was used successfully as a remedial technique for
>those subjected to the "whole word" approach.
Artificial statistics. It's easy to do, when you consider that the
knowledge base of
a high school graduate today is roughly the same as an eighth grade graduate
in
the sixties. Most students today cannot read. Even the better students
read poorly,
thanks to the reducation of standards in public schools -- plus the
inability -- or
unwillingness -- of many public school teachers to speak correctly and
require the use
of proper English in their classes.
Jim Hobby
------------------------------
Date: Sun, 16 Apr 2000 21:21:39 -0500
From: "Dee D. Hays" <deehays@-----.com>
Subject: Re: [kl] good beginner books
Message-ID: <000e01bfa813$aa8ee640$2a0410d8=computer>
----- Original Message -----
From: "J. Hobby" <jhobby@-----.net>
Subject: [kl] good beginner books
> >From: "Dee D. Hays" <deehays@-----.com>
>
> ... [snip] thanks to the reducation of standards in public schools
Do not presume to correct my typing errors and assume that they are errors
in usage when you yourself can make an error in typing. Note that I grant
you the courtesy of believing it to be a typo rather than slamming you for
an inability to spell.
Dee Hays
Canton, SD
------------------------------
Date: Sun, 16 Apr 2000 22:45:54 EDT
From: Cowzgomoo9@-----.com
Subject: Re: [kl] good beginner books
Message-ID: <e2.343fbc2.262bd4e2@-----.com>
In a message dated 4/16/00 10:23:20 PM Eastern Daylight Time,
deehays@-----.com writes:
<< klarinet-unsubscribe@-----.org >>
------------------------------
Date: Sun, 16 Apr 2000 21:55:45 -0500
From: "Dee D. Hays" <deehays@-----.com>
Subject: Re: [kl] good beginner books
Message-ID: <001c01bfa818$7e112ec0$2a0410d8=computer>
----- Original Message -----
From: <Cowzgomoo9@-----.com>
Subject: Re: [kl] good beginner books
> In a message dated 4/16/00 10:23:20 PM Eastern Daylight Time,
> deehays@-----.com writes:
>
> << klarinet-unsubscribe@-----.org >>
>
I think you've left something out here.
Dee Hays
Canton, SD
------------------------------
Date: Sun, 16 Apr 2000 22:08:57 -0500
From: "Dee D. Hays" <deehays@-----.com>
Subject: Re: [kl] good beginner books
Message-ID: <002501bfa81a$45bea000$2a0410d8=computer>
----- Original Message -----
From: "J. Hobby" <jhobby@-----.net>
Subject: [kl] good beginner books
> [snip]... There's no need to justify the "whole word" method of teaching
reading.
> People taught to read by the whole word method, or by a combination of
> whole word and phonics, are better readers than those taught by phonics,
> alone.
I suggest people interested in the "whole word" versus phonics approaches to
reading check out this article. Please read the entire article. There is a
great deal to refute the "whole word" approach both in the article itself
and the links to other articles.
http://www.policyreview.com/nov97/flunk.html
The only "flaw" that people can find in phonics is that it can be boring if
the teacher doesn't also provide interesting literature for the students to
read as they master the basics of phonics. Actually this is a similar
problem to drills in music. If the teacher doesn't provide some interesting
material that incorporates the techniques just covered in the drills, the
student gets bored.
However since this is a clarinet list, I prefer not to pursue the debate.
There is sufficient material on the web to keep a person busy for days
studying this issue.
Dee Hays
Canton, SD
------------------------------
Date: Mon, 17 Apr 2000 00:35:42 PDT
From: "Michael Byerly" <jjhugo@-----.com>
Subject: Re: [kl] good beginner books
Message-ID: <20000417073542.75569.qmail@-----.com>
Jim Hobby wrote:
>Artificial statistics. It's easy to do, when you consider that the
>knowledge base of
>a high school graduate today is roughly the same as an eighth grade
>graduate
>in
>the sixties. Most students today cannot read. Even the better students
>read poorly,
>thanks to the reducation of standards in public schools...
It's nice to know that, back in the sixties, eighth-graders knew calculus
and college-level chemistry, as I do now as a high school senior. Funny
that I didn't learn that fact in my AP US History class. Also, I see that I
and all other students on this mailing list are poor readers, another fact
of which I was not previously aware. Thanks for your post.
-Michael Byerly
Get Your Private, Free Email at http://www.hotmail.com
------------------------------
Date: Sun, 16 Apr 2000 23:3:19 -0700
From: "Patricia Smith" <pattiesmith@-----.net>
Subject: reed trimmer:pro or con; was Re: [kl] another half
Message-ID: <41200041176319280@-----.net>
Adam wrote:
[My teacher]recommended me NOT to get a reed trimmer and she explained to
me that the fibers in your reed are pinched together when you use a
trimmer;thus you loose a reed that could have been better. She recommends
me to take sand paper and lightly remove some of the tip of the reed off
then adjust the reed a little bit. Does anyone else go by this rule?"
I do not use a clipper for this reason. The clipper also causes inner
fibers of the reed to break, and thus hinders vibration of the reed and,
in my experience (yes I have gotten lazy and used a trimmer when I had only
very soft reeds) makes my sound pinched and thin. Of course this is a
common result of using too soft reeds anyway.
Patty Smith
..for whom playing with reeds is an enjoyable pastime since she had kids
-
------------------------------
Date: Sun, 16 Apr 2000 20:33:09 -0700 (PDT)
From: Neil Leupold <leupold_1@-----.com>
Subject: Reed trimmers: fact or opinion
Message-ID: <20000417033309.3817.qmail@-----.com>
--- Patricia Smith <pattiesmith@-----.net> wrote:
> I do not use a clipper for this reason. The clipper also causes inner
> fibers of the reed to break, and thus hinders vibration of the reed and,
> in my experience makes my sound pinched and thin.
Ah, the folklore. Everybody's experiences are different, and perish the
thought that somebody should read a testimonial like the above paragraph
and summarily decide that reed trimmers are destructive devices, manufac-
tured expressly to dupe unsuspecting clarinetists out of their hard-earned
cash. I've been using my Cordier trimmer for many years to good effect and
with much benefit as a performer.
Since we've seen a number of younger players come out of the woodwork
on the list in recent weeks, this is probably a good time to warn against
taking any post on this list as a reflection of proven and/or incontrover-
tible fact. Even some of the actual facts stated on the list are appreci-
ably colored by individuals' perceptions and idosyncracies. No matter how
ironclad the verbiage or rhetoric may become, always hold out on a final
decision until you have had the opportunity to personally test the know-
ledge for yourself.
-- Neil
Do You Yahoo!?
Send online invitations with Yahoo! Invites.
http://invites.yahoo.com
------------------------------
Date: Mon, 17 Apr 2000 00:58:51 EDT
From: Takumi123@-----.com
Subject: mozart
Message-ID: <70.27663fb.262bf40b@-----.com>
this might be a really stupid question to ask but what is the proper name
for
the mozart piece which is thought to be the first piece soley for the
clarinet.
thanks in advance
------------------------------
Date: Mon, 17 Apr 2000 00:48:28 -0600 (MDT)
From: Shouryu Nohe <jnohe@-----.edu>
Subject: Re: [kl] mozart
Message-ID: <Pine.SOL.4.10.10004170021340.3240-100000=rhea>
On Mon, 17 Apr 2000 Takumi123@-----.com wrote:
> this might be a really stupid question to ask but what is the proper name
for
> the mozart piece which is thought to be the first piece soley for the
> clarinet.
Soley for the clarinet? Hardly. If you speak of the Concerto in A major,
Kv622, the notion of that being the first solo work for clarinet was
debunked long ago, if any such notion existed at all.
As far as my research goes, the earliest solo works for clarinet were
composed by Johann Molter, round abouts 1750. He composed several
concerti for the smaller instrument, keyed in D. At the time, it was very
common for players to play reed up, allowing for added ease in the
altissimo, and Molter's concerti reflect this, displaying a notable flair
in technicality and brilliance, albiet most of the note being
regoshdarndiculously high.
Johann Stamitz, conductor and head of music at Mannheim had also composed
a single concerto for the Bb clarinet at around this time; sadly, his work
is often overshadowed by his son Karl's eleven clarinet concerti. I
personally find the elder Stamitz's concerto a wonderful work with as much
substance and importance as the younger's more popular works.
Some other composers also took hold of the instrument at this time, but
most likely a couple years later than Molter and J. Stamitz. Telemann,
KPE Bach, Vivaldi, J.J.Faber, and Pokorny all played distinct roles in
adding to the young instrument's repertoire with various concerti,
concerto grossi, and chamber oriented works.
Karl Stamitz' concerti would follow next, around 1770. He composed for
Beer ("He should have at least gotten scotch." - L. Borchert, 1999), who
was one of the first three recorded clarinet virtuosi, the others being a
Mr. Charles of Hungary (but he earned his reputation in Britain) and
Beer's contemporary, Franz Tausch.
The bass clarinet and bassett horns are invented at about this time.
It is then that Herr Mozart finally enters the picture - his first notable
clarinet contribuition was a Divertimento in 1771 (Kv186). Two more would
follow shortly after, Kvs 166 and 186. These are Mozart's first NOTED
works; there is speculation that he may have intended the clarinet's use
as early as 1764, in a small composition catalogued Kv18.
After the Stadlers moved to Vienna in 1777, Mozart would become
particularly aquainted with the elder Stadler, Anton, through the
Freemasons, which both Anton and Mozart joined in 1784-5. Mozart would
then compose a good number of trios for his friend, either for
clarinet/basset horn and voice, or for both Stadlers, usually for clarinet
and basset horn. The famous (or should I say infamous) Kegestatt (Kv498)
trio is probably the most familiar to us.
Skittles, anyone?
Also of note is Kv580 and the famous quintet Kv581. A whilst later,
Mozart finally composes Kv622 in 1791, with about a month left to his
life.
Okay...enough for now, I'm getting carried away.
> thanks in advance
You're welcome.
J. Shouryu Nohe
http://web.nmsu.edu/~jnohe
Professor of SCSM102, New Mexico State Univ.
"I don't know, and I don't have an opinion." - Jet Black
------------------------------
Date: Mon, 17 Apr 2000 01:06:53 -0400
From: Don Longacre <nw2v@-----.com>
Subject: Re: Reed Trimmers: fact or ?
>Ah, the folklore.>
You got that right, Neil. I used to keep a silver dollar in my tenor sax
case.
Its curve is the same as a tenor reed. By laying a soft reed on the coin
with
just a wee bit of tip hanging over, I could burn back the reed in lieu of a
reed
trimmer. The burn stopped at the edge of the coin. Worked like a charm.
Don L.
------------------------------
Date: Mon, 17 Apr 2000 02:53:51 EDT
From: Jubison@-----.com
Subject: Re: [kl] Some Personal Notes On Dvorak
Message-ID: <4c.43a9b95.262c0eff@-----.com>
Shouryu---
it's times like those you mentioned in your posting that i truly remember
why
i play the clarinet. the 'magic' of music...something i've attempted to
explain to some of my 'non-band' friends as a reason why i'm such a band
geek...you explained it well in your posting...thanks for a great read!!
aloha,
julia
------------------------------
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