Klarinet Archive - Posting 000047.txt from 2000/08

From: stewart kiritz <kiritz@-----.net>
Subj: Re: [kl] Body movement
Date: Fri, 4 Aug 2000 10:34:12 -0400

I believe that body movements are not the problem as long as they are not
associated with movement of the mouthpiece in the embouchure. The bad note
that Fred Ormand excised from his student's performance probably resulted
from a shift of the instrument in the mouth when going over the break, or
when clumping down a lot of fingers to play a particular note resulting in a
slipping of the instrument in the mouth, which disturbed the air stream and
produced an upper harmonic "chirp" or "crack." I am very familiar with this
because Howard Klug diagnosed some articulartion problems I was having as
the result of a too- relaxed embouchure. When the embouchure firmed up, the
problems went away. You can often see a noticable small jerk of the
instrument at various times if the player does not haver sufficient
stability of the mouthpiece. You can train yourself to notice this movement
and get rid of it. You can also see it by looking at a mirror.

Stewart Kiritz

----- Original Message -----
From: "William Wright" <Bilwright@-----.net>
Subject: Re: [kl] Body movement

<><> Neil Leupold wrote:
We could start a whole new thread on this, but I'm not a big proponent
of bodily movement while playing

At this week's master class, Fred Ormand noticed a student missing a
particular note repeatedly and coached the student into not moving. The
bad note disappeared instantly when the student stopped waving the
instrument all over the place.
As a member of the audience, I find body movements extremely (not
just a little bit) distracting because they seldom are graceful or move
towards completion -- as opposed to how true dance movements would
appear.
On the other side of the coin, most of the Klezmer and jazz
performers at ClarinetFest (IMO) did move at appropriate moments and in
a truly communicative manner. Especially they covered larger distances
on the stage. Dancers don't have their feet glued to one spot on the
stage. Swaying and waving without travelling somewhere really disturbs
me.
I close my eyes in extreme cases at a concert or recital so that I
don't have to watch it -- which means that I'm missing some of the
impact of a live performance, but this is better than being 'derailed'
by uncomposed fits of movement.
If I were going to start a discussion about body movements, I would
wonder whether there is truly a difference in 'dance vs. mere release of
nervous energy' between the movements of classical vs. non-classical
performers.

Cheers,
Bill

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