Klarinet Archive - Posting 000366.txt from 2000/05

From: "Emily S" <harvinet@-----.com>
Subj: Re: [kl]doubling, confustion: was Molly On The Shore
Date: Sat, 6 May 2000 19:13:42 -0400

Thank you, but the problem I was talking about was the physical impacts on
the player's face. I've heard the reed mp and the brass mp push and pull
the face bones in different directions, so it's impossible to maintain a
good embouchure on either. What do you know about that?

>From: klarANNette h satterfield <klarann@-----.com>
>Reply-To: klarinet@-----.org
>To: klarinet@-----.org
>Subject: Re: [kl]doubling, confustion: was Molly On The Shore
>Date: Sat, 06 May 2000 02:35:48 EDT
>
>Emily,
>Reed/brass doublings are not as common as doublings within one family,
>within woodwinds or brass. Some people are good at doubling (re Walter's
>comment a few days ago about having a 'rubber embouchure'), some people
>learn new set-ups and instruments easily, some are best suited to detail
>on one area.
>
>I personally have met at least a dozen people who are competent on both a
>woodwind and brass instrument.
>
>Many of the most competent instrumental conductors have a good choral
>background.
>
>On the matter of confusion, my own personal experience has been that I
>get past the confusion/frequent error level in about 3 weeks of regular
>practice. Others milage will vary.
>
>As i think to write this note, I realize that the confusion i still have
>on oboe with F & F# and Bb-Db is not the exception to this rule, at
>least yet, because i have not practiced the oboe daily for more than a
>week at a time. Interesting.
>
>annhall
>````````````````````````````````
>Ann Satterfield
>clarinetist and teacher
>```````````````````````````````
>who always sticks with clarinet but has spent time on saxophone,
>trombone, flute, viola, voice, bass clarinet, oboe.
>and of this selection, the least satisfactory tone control was flute.
>
>
>
>
>On Sat, 06 May 2000 02:56:53 GMT "Emily S" <harvinet@-----.com> writes:
> >Isn't it physically really hard to be in good shape on a brass and a
> >reed
> >instrument at the same time?
> >
> >
> >>From: "Kevin Callahan" <kionon@-----.com>
> >>Reply-To: klarinet@-----.org
> >>To: klarinet@-----.org
> >>Subject: Re: [kl] Molly On The Shore
> >>Date: Thu, 04 May 2000 15:20:00 PDT
> >>
> >>
> >>
> >>
> >>>From: "Tim Roberts" <timr@-----.com>
> >>>Reply-To: klarinet@-----.org
> >>>To: "Clarinet List" <klarinet@-----.org>
> >>>Subject: [kl] Molly On The Shore
> >>>Date: Thu, 04 May 2000 14:36:21 -0700
> >>>
> >>>Our community band is currently "experiencing" Grainger's Molly On
> >The
> >>>Shore.
> >>
> >>*Grumble* Another reminder of the peice of music that has put me a
> >>situation
> >>I'd rather not be in. I made first chair on trombone and third chair
> >on
> >>clarinet. The directors won't allow me to play clarinet. I'm all
> >twisted
> >>inside. I'm happy I made such a good chair on trombone, but I'm upset
> >about
> >>not being able to clarinet. I never imagined I'd get such a high
> >chair on
> >>trombone, so I expected there to be no trouble in my transition. It's
> >like
> >>wanting to run in two different directions. *sigh*
> >>
> >>Kevin Callahan
> >>* Kevin glares at his copy of the First Clarinet part of Molly on the
> >
> >>Shore.
> >>Get Your Private, Free E-mail from MSN Hotmail at
> >http://www.hotmail.com
> >>
> >>
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