Klarinet Archive - Posting 000947.txt from 2000/05

From: Bilwright@-----.net (William Wright)
Subj: Re: [kl] Tone -- online experiment
Date: Sat, 20 May 2000 10:46:30 -0400

<><> Tony P wrote:
Did you notice him doing it as often as every semiquaver?

I've listened to the recording several times now, and I do hear a
little more each time.... 'educating' my ear.

I'd like to offer a different (and for me, new) attitude towards
'dark' and 'bright'. I'm thinking about a child who, at first, doesn't
understand the difference between (say) sarcasm and rudeness -- or any
other pair of emotional qualities that are closely related.
Hopefully, the child will mature and learn the difference
eventually. I'm beginning to wonder whether the words 'dark' and
'bright' -- even though they appear to be dramatic opposites from a
linguistic point of view -- are actually closely related and require
experience in order to recognize and distinguish them?
In the case of sarcasm and rudeness, even adults have difficulty
separating them sometimes. Perhaps the same is true of 'dark' and
'bright'?
A few weeks ago, I posted that I felt the necessity of using
additional words such as "echo-filled" when discussing 'dark'. I am
beginning to see that there's more than one closely related quality
involved in this discussion -- which offers even more room for confusion
and disageement. I also remember Mark's comment about classifying tones
in a system of "multiple dimensions", which is much the same thing as
I'm saying here. You've used phrases such as "more quiet" and "gentler
attack" and "less energy", all of which are closely related qualities
that perhaps musicians wrongly subsume under the single rubric of
'dark'?

This morning (and I'm running out of time, I need to get in gear),
I'm going to a master class by someone named Fred Ormand. I've never
attended a master class before, and so I don't know if the audience has
an opportunity to ask questions, but.......

Cheers and thanks,
Bill

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