Klarinet Archive - Posting 000049.txt from 2000/08

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Body movement
Date: Fri, 4 Aug 2000 11:55:50 -0400

The tall, blonde, swaying young flute-player is the classic example, isn't
it???

Roger S.

On
Fri, 4 Aug 2000, stewart kiritz wrote:

> Date: Fri, 04 Aug 2000 07:39:43 -0700
> From: stewart kiritz <kiritz@-----.net>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] Body movement
>
> Of course the esthetic of body movement are another matter. I've never
> enjoyed watching a performer who swayed and moved a lot, whether it be on
> the clarinet or any instrument. I find it distracting.
>
> Stewart Kiritz
>
>
> ----- Original Message -----
> From: "stewart kiritz" <kiritz@-----.net>
> To: <klarinet@-----.org>
> Sent: Friday, August 04, 2000 7:34 AM
> Subject: Re: [kl] Body movement
>
>
> > 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>
> > To: <klarinet@-----.org>
> > Sent: Friday, August 04, 2000 5:28 AM
> > 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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