Klarinet Archive - Posting 000703.txt from 2000/11

From: alevin@-----. Levin)
Subj: Re: [kl] Opinions and metaphors
Date: Tue, 21 Nov 2000 15:51:08 -0500

By George, I think I've got it! And I like it.

Thank you.

At 07:03 PM 11/21/00 GMT, you wrote:
>On Tue, 21 Nov 2000 13:49:32 -0500, alevin@-----.net said:
>
>[snip]
>
>> In the case of your Albert, I have a mental sound image of the
>> improvement - and I'm comfortable with that image. But without hearing
>> it, I can never be certain that I understand what you heard.
>
>I feel I was a little unfair to you: let me try harder:-)
>
>The sound of a clarinet can be more 'intimate', in general, than the
>sounds of the trumpet or saxophone, which are more 'open', in general.
>
>A great trumpet player may be able to achieve this intimacy, as may a
>great saxophone player. A trumpet player is helped if the trumpet is
>muted, because then we get a sense that the sound is more 'contained',
>or 'restricted'. You *can* mute a saxophone, but it's less commonly
>done.
>
>A similar thing happened to the sound of the Albert when I put the cable
>down it. The Albert blows quite 'freely', so first of all, with the
>mouthpiece I had, I got a more 'trumpet-like', or 'saxophone-like'
>quality; but with the cable, it was as though it was a little muted.
>
>The quality wasn't unlike the quality of playing a German bore
>instrument with a German mouthpiece. There was a sense of intimacy,
>even when the sound became loud.
>
>So, it was particularly appropriate for the Wesendonck Lieder and the
>Siegfried Idyll.
>
>Like most musicians, mostly I think in terms of qualities like
>'intimacy' or 'openness', or 'aggression', or 'timidity', or
>'gentleness', or.... So I resist wanting to translate those
>higher-level concepts into stuff about harmonics. I find that it just
>isn't useful.
>
>Tony
>--
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
>... What do you mean, you've never heard of me?
>
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