Klarinet Archive - Posting 001099.txt from 2000/12
From: "saxhorn4" <saxhorn4@-----.net>
Subj: [kl] RE: klarinet Digest 20 Dec 2000 21:15:01 -0000 Issue 2779
Date: Wed, 20 Dec 2000 19:28:36 -0500
Please take me off the mailing list
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doing wrong
Now i getting the digest 4 times a day I would like to completely
UNSUBCRIBE Thank you for taking me off the list
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----------------------
-----Original Message-----
From: klarinet-digest-help@-----.org
[mailto:klarinet-digest-help@-----.org]
Subject: klarinet Digest 20 Dec 2000 21:15:01 -0000 Issue 2779
klarinet Digest 20 Dec 2000 21:15:01 -0000 Issue 2779
Topics (messages 39270 through 39279):
Chalumeau F# chromatic fingering
39270 by: "Tony Wakefield" <tony-wakefield@-----.net>
Baker
39271 by: David Blumberg <reedman@-----.com>
39274 by: Neil Leupold <leupold_1@-----.com>
Reeds (Legere) -- Pronunciation
39272 by: Bobngayenewman@-----.com
39276 by: stewart kiritz <kiritz@-----.net>
39279 by: "Mark Charette" <charette@-----.org>
Zoon
39273 by: David Blumberg <reedman@-----.com>
Inner Game
39275 by: David Blumberg <reedman@-----.com>
Side F#
39277 by: avrham galper <agalper@-----.com>
Children [was, Legere Reeds]
39278 by: alevin@-----. Levin)
Administrivia:
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----------------------------------------------------------------------
Date: Wed, 20 Dec 2000 18:46:51 -0000
From: "Tony Wakefield" <tony-wakefield@-----.net>
Subject: Re: [kl] Chalumeau F# chromatic fingering
Message-ID: <001b01c06ab5$48962c40$98688cd4=net>
I use the 1st LH finger. I teach it to my pupils, and no one slips up with
it. The rule is <always stay on the same hand if you can>. If you try to use
the TH and the 2 side keys, there will always be the hazard, however small,
of <when> to time the exact moment to <down> the side keys approaching that
F#, and then releasing them to move back to your LH continuation.
Yes - - -this way is possible, and is necessary sometimes, but I think you
will find after slow and even practice, leaving that chromatic movement on
<one> hand is perfectly fluent.
Best,
Tony W.
----- Original Message -----
From: "Don Yungkurth" <clarinet@-----.net>
Subject: [kl] Chalumeau F# chromatic fingering
> I was present recently at a lecture/demonstration by Anthony Gigliotti.
He
> said that the proper fingering for F# in the Chalumeau register in a
> chromatic run is left hand index finger. When specifically asked about
using
> the left thumb plus the first two side keys for the right hand index
finger,
> he said not to use that fingering in a chromatic and that, "They are trill
> keys".
>
> Someone in the audience asked, "but how fast can you do that?" He
> demonstrated that he could do a C to C chromatic over the break rapidly
and
> smoothly using "his" fingering for F# (of course!).
>
> I've checked a number of methods and they all seem to say to use the side
F#
> in a chromatic, as I learned years ago in Part I of the Langenus method.
>
> Any comments? Is this a common view?
------------------------------
Date: Wed, 20 Dec 2000 13:58:55 -0500
From: David Blumberg <reedman@-----.com>
Subject: re: Baker
-------------------------
From: "Steve Hartman" <sdh902@-----.net>
Subject: Julius Baker
Message-ID: <004a01c06a8f$02f74140$6ca1fea9=i0u5z2>
Julius Baker is to the flute as Jascha Heifetz was to the violin. There
will always be someone who 'prefers' another artist, but in terms of general
acceptance by audiences, colleagues, students and conductors, Baker and
Heifetz remain the ultimate standard on their respective instruments.
I had the privelege of playing two chamber music concerts with Julius Baker,
when he was in his 70s. I have never played with a flutist so quick to
adjust pitch and tone color to blend with a clarinet. I'll never forget the
experience.
He recently celebrated his 85th birthday and he continues to teach at
Juilliard and Curtis as well as travel to give recitals and master classes.
----------------------------------------
As a Flutist that may be true, but as a performer who is known around the
world, it isn't. James Galway, and Rampal far (FAR) out number Baker as to
name recognition, and except in music circles, Flutists, etc. Even in music
circles, Galway, and Rampal are known where Baker is not. Baker is an
amazing teacher, and performer, but not in the league of Heifetz as to
being World Renound other then to fellow musicians. I would say that Baker
is to the Flute what Galimian, or Delay was/is to the Violin.
Just my opinion.
David Blumberg
music@-----.com
http://www.mp3.com/mytempo
http://www.toptempo.com Giant Site
---------------------------------------------------
------------------------------
Date: Wed, 20 Dec 2000 11:34:34 -0800 (PST)
From: Neil Leupold <leupold_1@-----.com>
Subject: Re: [kl] re: Baker
Message-ID: <20001220193434.14913.qmail@-----.com>
--- David Blumberg <reedman@-----.com> wrote:
> As a Flutist that may be true, but as a performer who is known around the
> world, it isn't. James Galway, and Rampal far (FAR) out number Baker as to
> name recognition, and except in music circles, Flutists, etc. Even in
music
> circles, Galway, and Rampal are known where Baker is not. Baker is an
> amazing teacher, and performer, but not in the league of Heifetz as to
> being World Renound other then to fellow musicians. I would say that Baker
> is to the Flute what Galimian, or Delay was/is to the Violin.
I've been listening to the classical music radio stations since I was
around 11 years old, and the Galway/Rampal phenomenon has been ubiquitous
from that time forward in my life. Julius Baker was mentioned on occa-
sion, about as often as Michel Debost and Aurel Nicolet, but never with
the frequency of G & R. Rampal's death ealier this year (in May, I think)
was actually somewhat of a shock to my system, because he had been such an
entrenched part of my psyche for so long. He and Galway almost seemed like
they would live forever. 'Same thing goes for Maurice Andre' on trumpet
(I think Andre' is still alive, and Galway is very much so). With re-
spect to Baker's teaching abilities, the friend I mentioned earlier
(the current Principal Flute of Atlanta who studied with him at Curtis)
once told me that he didn't so much "teach" as merely play and ask that
his students mimic him. But then, that too is a valid teaching method,
and his students (all of them already on the cusp of technical and musi-
cal mastery) certainly bear out the success of his approach.
-- Neil
Do You Yahoo!?
Yahoo! Shopping - Thousands of Stores. Millions of Products.
http://shopping.yahoo.com/
------------------------------
Date: Wed, 20 Dec 2000 14:11:00 EST
From: Bobngayenewman@-----.com
Subject: Re: [kl] Reeds (Legere) -- Pronunciation
Message-ID: <17.f35fc47.27725e44@-----.com>
Anybody -- I am not French. How do you pronounce Legere? I see there are
accents over the second and third "e". Does that mean it's Lay-SHAY-RAY or
what? I've been pronouncing it Lay-SHARE, but who am moi?
Signed Befuddled in Sacramento
------------------------------
Date: Wed, 20 Dec 2000 11:06:13 -0800
From: stewart kiritz <kiritz@-----.net>
Subject: Re: [kl] Reeds (Legere) -- Pronunciation
Message-id: <000801c06ab7$ec731ba0$0100000a@-----.net>
If there were an accent over the last e then it would be pronounced
leh-je-re (leh rather than lay, because the french -e- is a vowel not a
dipthong). However, my legere does NOT have the final third accent. Does
yours?? Therefore, the reed is pronounced leh-ghere, with the emphasis on
the second of the two syllables. By the way, the word means "light" in
french.
Stewart Kiritz
----- Original Message -----
From: <Bobngayenewman@-----.com>
Subject: Re: [kl] Reeds (Legere) -- Pronunciation
> Anybody -- I am not French. How do you pronounce Legere? I see there are
> accents over the second and third "e". Does that mean it's Lay-SHAY-RAY or
> what? I've been pronouncing it Lay-SHARE, but who am moi?
>
> Signed Befuddled in Sacramento
>
> ---------------------------------------------------------------------
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>
------------------------------
Date: Wed, 20 Dec 2000 16:13:41 -0800
From: "Mark Charette" <charette@-----.org>
Subject: Re: [kl] Reeds (Legere) -- Pronunciation
Message-ID: <005d01c06ae2$e079b680$9618de3f@-----.org>
Well, Guy Legere pronounces his own name (approximately) ...
Gee Le share (a little bit of a "z" in front of the sh).
with accent on the second syllable.
Mark C.
Legere reeds is a sponsor of Sneezy.Org, and Guy is a personal friend of
mine.
----- Original Message -----
From: "stewart kiritz" <kiritz@-----.net>
Subject: Re: [kl] Reeds (Legere) -- Pronunciation
> If there were an accent over the last e then it would be pronounced
> leh-je-re (leh rather than lay, because the french -e- is a vowel not a
> dipthong). However, my legere does NOT have the final third accent. Does
> yours?? Therefore, the reed is pronounced leh-ghere, with the emphasis on
> the second of the two syllables. By the way, the word means "light" in
> french.
>
> Stewart Kiritz
>
>
> ----- Original Message -----
> From: <Bobngayenewman@-----.com>
> To: <klarinet@-----.org>
> Sent: Wednesday, December 20, 2000 11:11 AM
> Subject: Re: [kl] Reeds (Legere) -- Pronunciation
>
>
> > Anybody -- I am not French. How do you pronounce Legere? I see there are
> > accents over the second and third "e". Does that mean it's Lay-SHAY-RAY
or
> > what? I've been pronouncing it Lay-SHARE, but who am moi?
> >
> > Signed Befuddled in Sacramento
> >
> > ---------------------------------------------------------------------
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> > Subscribe to the Digest: klarinet-digest-subscribe@-----.org
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> > Other problems: klarinet-owner@-----.org
> >
>
>
> ---------------------------------------------------------------------
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>
>
------------------------------
Date: Wed, 20 Dec 2000 14:13:03 -0500
From: David Blumberg <reedman@-----.com>
Subject: re: Zoon
<klarinet@-----.org>
From: "Tony Wakefield" <tony-wakefield@-----.net>
Subject: Re: [kl] Julius Baker
Message-ID: <000601c06a9b$9d6b3d60$ac248cd4=net>
Thanks for the info Steve. Does anyone know who Zoon is?
T.W.
------------
Jacques - of course. (I teach Flute also)
David Blumberg
http://toptempo.com/genres/Pop_._Rock@-----.htm
---------------------------------------------------
------------------------------
Date: Wed, 20 Dec 2000 14:14:31 -0500
From: David Blumberg <reedman@-----.com>
Subject: re: Inner Game
Ann H Satterfield <klarann@-----.com>
Subject: Re: [kl] Inner Game of Music + other books
Message-ID: <20001220.105610.-147503.1.klarann@-----.com>
Neil,
I *own* all these i have suggested, and read Inner Game of Tennis as
well.
The Bruser book is very good, and has sections on the physical approach
to most instruments (the author is pianist), as well as the mental and
emotional attitudes we bring to music.
This *stuff* works very well for some people.
----------------
There is a very good Video of the Inner Game of Music also.
David Blumberg
http://toptempo.com/genres/Pop_._Rock@-----.htm
---------------------------------------------------
------------------------------
Date: Wed, 20 Dec 2000 14:32:10 -0500
From: avrham galper <agalper@-----.com>
Subject: Side F#
Message-ID: <3A41093A.5AE17AE2@-----.com>
I remember readng an article by Gino Cioffi, that said that playing
upwards, Chromatic or otherwise, use the side key for F#.
In a downward motion, use the forefinger of the Left hand.
Avrahm Galper
------------------------------
Date: Wed, 20 Dec 2000 15:25:57 -0500
From: alevin@-----. Levin)
Subject: RE: [kl] Children [was, Legere Reeds]
And we shake our heads when Protestants and Catholics, Jews and Arabs, and
Serbs, Croats and Bosnians shoot at each other! Be glad we only have
e-wars.
To the tune of the song of the Volga boatmen (boatman?):
Happy Holi-days
Happy Holi-days
Grief, misery and despair
People dying everywhere
Don't argue, play
Don't argue, play. (repeat)
------------------------------
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