Klarinet Archive - Posting 000725.txt from 2000/12

From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subj: [kl] Stand or Sit?
Date: Wed, 13 Dec 2000 23:37:33 -0500

Arthur asked in reply to my observation that "most studio guys will ask to
stand for the high stuff -- and in the studio, it doesn't matter what you
look like.":

<<<Why? When you've just "explained" that it makes no difference?>>>

I have to be clearer when I post, sorry. What I was tying to say is that
standing DOES make a difference to the studio trumpet player faced with a
high jazz-style lead part, because it helps in getting the proper
"compression" to get the high air speed through the horn to pop out those
screamers. Other section instrumentalists who don't need that level of
compression -- like everybody else -- typically sit while recording.
(Indeed, if you played clarinet with the same level of compression used by
Maynard Ferguson, Jon Faddis or Arturo Sandoval, bits of reed would be
embedded in the far wall.) In the studio, soloists either sit or stand,
depending on comfort; the audience doesn't see you so appearance doesn't
matter.

It's for this reason, too, that trumpets in big bands tend to stand.
Conversely, trombone players seldom do -- the only band that I recall whose
trombones regularly stood while playing was Stan Kenton's. (Very, very
loud, esp. when Dick Shearer played lead bone). I do not recall *ever*
seeing a saxophone line stand in any band, except for soli passages.
Baritone saxophones take a great deal more air than soprano clarinets; hence
my assertion that "What does any of this have to do with clarinet? Not
much." IMHO, the extra air that may (or may not) be available from standing
won't make a difference for the clarinet player.

Arthur then noted:

<<<I disagree, because the assumption in your post is that the posture is
affecting only the breathing. I contend that it may also facilitate the
rhythmic understanding of the music . . . In sight reading, at least with
beginners, many more mistakes are made in 3/4 time than in 2/4 or 4/4. Why
is this? Because, on average, we have two legs.>>>

I disagree only in small part. I don't think that any of the trumpet
players I know stand because it makes the rhythm easier -- if that were the
case, you'd see other brass, woodwind and string players standing in the
studio, too, and they don't. It's true that trumpet players aren't like the
rest of us (to see how very twisted they can be, check out
www.tasteebros.com some time), but they don't need *that* much extra help
with the rhythm.

For beginners, there is no question that standing -- and movement while
standing -- helps rhythm. That's much of what Kodaly's teaching methodology
is all about. That's one reason why I noted that standing may indeed be
"useful pedagogically." Another is that it's hard to slouch while standing.
While standing isn't clarinetistically necessary for proper air supply, it
can help a pupil get the right "feel" of how they should take in air. Back
in the days when I taught private lessons, I made young students play while
standing -- even though I am one of those who never, ever stand while
playing myself.

Indeed, I have a pet theory as to why string players seem rhythmically
impaired to us wind folk. Part of it is the finality of wind attacks; we
can't smush into an entrance like the string lemmings. Another part is that
very few violinists have played a lot or marches, and certainly not while
marching. Not many marches are in three. People tend to march in duple
rhythms (two and four). Horses march in 6/8. For whatever reason,
elephants appear to march in one.

kjf

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