Klarinet Archive - Posting 000158.txt from 2000/10

From: Bilwright@-----.net (William Wright)
Subj: Re: [kl] Molto Difficile
Date: Tue, 3 Oct 2000 16:00:27 -0400

<><> Patricia Smith wrote:
[snip] and flutists talk a great deal about the different colorings and
shadings they can give their sounds. I think that they have something
there in that they are creating many different sounds and effects,
learning how to control them and using them to bring out what was
intended by the composer from the start.

I take my lessons in a studio immediately next door to the "flute
room." I commented once to the flute instructor that there seems to be
more tonal variation among students than among clarinet students.
Her reply was, "Certainly. That's because we don't have a
mouthpiece to help shape the air flow. Sammy," she said to a student,
"give me your best forte."
Sammy was a teenager and he played a note. Then the instructor
played the same note herself. First of all, she was so much more forte
than the student that (figuratively speaking) I felt as if I had been
thrown against the wall. I've heard the same demonstration on clarinet
at master classes, and someone posted here what he or she heard
Stoltzman do under similar conditions, ppp vs. fff, but I do believe
that there's a greater difference possible on the flute -- probably
because a skilled flutist puts all the air where it belongs and doesn't
waste any of it.
The other thing that was obvious was the tone itself. Sammy's tone
was breathy, the instructor's was (to use a metaphor) 'as solid as a
wall' without any hiss -- for the same reasons, I presume.

Cheers,
Bill

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