Klarinet Archive - Posting 000051.txt from 2000/08

From: stewart kiritz <kiritz@-----.net>
Subj: Re: [kl] Body movement
Date: Fri, 4 Aug 2000 12:02:32 -0400

.The "tall, blonde, swaying young flute-player" would most likely be a
positive esthetic experience, though perhaps not a musical one.

Stewart

>
> 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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