Klarinet Archive - Posting 000824.txt from 2001/06

From: AnneLenoir@-----.net (Anne Lenoir)
Subj: Re: [kl] Fw: [kl] Thumb and Wrist, Breathing, Print, Composing
Date: Mon, 25 Jun 2001 09:46:09 -0400

Tony, when composers are writing parts, aren't they supposed to be
"thinking" like the person who will be playing the part? If they don't
know anything about the instrument they are writing for, wouldn't you
think they would seek a second opinion, sort of like a patient with a
fatal illness might contact another specialist?
I know that if, for instance, I were writing a duet for clarinet
and flute, that I would send the flute part to my sister for editing.
(My sister is a professional flutist, while I am a doubler).
Tony, I have been working on the first movement of "Hauntings" now
for several days, and I think that you write beautifully for the
clarinet. Do they have gigs for "editors" of parts before they are
published? Perhaps you should be on call as an editor. I play last chair
clarinet in a wonderful wind ensemble, the Little London Winds, just
started a month ago. The first thing I had to do was buy a music stand
and a new pair of music-reading glasses, as I have not had to actually
sight read in 20 years and was unaware that I was blind. After I got the
reading glasses, I realized that some of the parts were still
practically impossible to read, especially difficult technical passages
with long "divisi" sections with stems going up, down and every
which-a-way. If the composer or the publishing company had hired an
editor-of-parts, it could have helped. But then conductors like William
Revelli wouldn't have any fun. ANNIE

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