Klarinet Archive - Posting 001361.txt from 2000/05

From: "Marcia S. Bundi" <mbundi@-----.com>
Subj: [kl] Re: Paper-Trained, was Bass Clarinet, Bass Clef in A Transpositions
Date: Wed, 31 May 2000 18:30:21 -0400

Dear Richard,

Although this thread has become ancient by e-mail standards, I've been
thinking about your post and have a bit more to add.

I hadn't thought about transposing as being done by intervals, although
that's exactly what I've been doing to transpose by octave -- which I've
become relatively competent at. I need to look at transposing clefs/keys
this way, too.

I guess what really throws me about improvising is not only the
pre-hearing of the the music, but the music *itself*. The musician has to
be able to come up with his own rhythmns and melodies -- sounding
interesting and pleasing at the same time! -- and being original is the
biggest stumbling block for me.

Just think, an appropriately place emoticon in the beginning of this
whole thing would have saved a lot of mis-communication -- and this
interesting thread would never have started! ;)

Marcia
Great Falls, MT

>>snip, snip<<

>> Transposing is not the same thing as improvisation! Now, if I could
>just
>> learn to transpose bass clef in A . . .
>
>Actually, Marcia, I think there are many common elements that apply to
>improvising and transposing. One needs to be in touch with his or her
>instrument enough to "pre-hear" what will be coming out as the next
>interval
>jump. This is important to the player so that he will land on that
>note with
>precision. If one is transposing, one most see the interval on the
>page,
>pre-hear it, translate that to the fingering and note being played and
>THEN
>make the necessary finger change to create a parallel and accurate
>transposition while living with this dual and parallel set of
>tonalities.
>(God, I hope I'm not too confusing in my thoughts.)
>
>An improvising musician, while not dealing with the printed interval,
>is
>dealing with a preconceived and mentally imaged interval. This too
>must
>translate through the fingers and learned finger patterns to that
>particular
>note he next wishes to play.
>
>Whether classically trained or jazz trained, both instrumentalists
>rely upon
>learned patterns, scales, arpeggios, etc. to get the music out.
>
>I have a particular problem, and am probably prejudiced against the
>Suzuki
>(sp?) method for some of the above reasons. I feel that the printed
>information, the recognition of intervals as they are found on the
>printed
>page, never become a part of and intrinsic with the motor patterns. I
>also
>believe that the aspects of counting from printed music are ignored
>for too
>long a period in the developing musicians life. I feel that the player
>becomes all to dependent upon keenly developed aural skills at the
>expense
>of developing the eye-hand coordination required to read, count and
>play at
>the same time.
>
>
>>
>> On Sat, 13 May 2000 13:46:45 -0600 Richard Bush
><rbushidioglot@-----.com>

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