Klarinet Archive - Posting 000418.txt from 2000/12

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] scales
Date: Thu, 7 Dec 2000 17:56:05 -0500

On Thu, 07 Dec 2000 14:31:15 -0800, kiritz@-----.net said:

> I admit that I found it useful to follow Howard Klug's pattern of
> keys; his idea of playing the scales over the entire compass of the
> instrument rather than just starting on the tonic; and his suggestion
> to play a set of scales, all in the same key but beginning on each of
> the different degrees of the particular scale.
>
> I don't feel like a sheep but merely someone who benefits from the
> suggestions of a master teacher. By the way, there are lots of other
> good things in Howard's book, for those who feel they might benefit
> from the wisdom of a fine and experienced teacher. I certainly have.

And me too, Stewart. When Howard sent me his book, I immediately wrote
to him, in part -- I have my message available:

> On Sun, 9 Apr 2000 14:43:46 -0500 (EST), hklug@-----.edu said:
>
> > Tony:
> >
> > I'll call you from our cottage sometime after the 12th of August.
> > No doubt we will be making a trip into Oxford, so we'll try to
> > arrange an opportunity to break bread and have a pint or two.
> >
> > Howard
>
> Great!
>
> Got your book and skimmed it yesterday.
>
> I have to say it's a great pleasure to read a book about the clarinet
> that:
>
> (1) I immediately agree with most of, and
>
> (2) can learn new things from.
>
> There are very few such books. (You're one of the few people who says
> the right things about the diaphragm, for example.)
>
> The thing that's most struck me up till now in your book has been the
> stuff about tongue position. I talk about that too, but I've never
> been quite so explicit about which bit of the tongue does what.
>
> I mostly talk about the resonant cavity that changes dimension
> according to the tongue position. But what you say is a very good
> description of what about the tongue makes high notes work, and also
> of what avoids the sort of 'kick' in the sound that results from the
> mouth resonance matching just one particular note. And your way
> separates the two very nicely.
>
> I was particularly pleased also with the bit about vertical tongue
> movement in articulation. I'd never even remotely considered that!
> It's one of those things that, even if it's not *exactly* true for
> everyone, captures the essential point: namely, that you mustn't
> interrupt the airflow. And it *generates* not interrupting the
> airflow too!
>
> I'm sure I'll discover many more valuable insights as I look closer.

So don't think that I'm against technical expertise.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN family artist: www.gmn.com
tel/fax 01865 553339

... Violence never solves anything, but it sure makes me feel good.

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