Klarinet Archive - Posting 000829.txt from 2001/06
From: Shouryunus Sarcasticii <jnohe@-----.Edu>
Subj: Re: [kl] Thumb and Wrist, Breathing, Print, Composing Problems.
Date: Mon, 25 Jun 2001 14:36:40 -0400
On Sat, 23 Jun 2001, Tony Wakefield wrote:
> understand how to write intelligently for clarinets. Not to merely leave it
> to section leaders to re-arrange what should have been done in the first
> place by the composer.
Excellent points, Tony, and well made, to boot. Although it seems I'm in
disagreeance by defending Sparke's works, I want you to know that I am
actually in complete understanding and agreeance of everything you've
stated. I think my love for the first, second, and third movement tends
to overshadow the massive problems in the fourth (the first two movements
are very hard, but not really impossible by any means...just the fourth).
Now, I myself haven't played YOTD...I've played three other pieces by
Sparke: Jubiliation (or was it Celebration?) and Theatre Music...and one
other that escapes me (maybe there was a Jubiliation AND a Celebration).
Those three works were considerably easier...still fairly technical,
requiring good rhythm and speed, but no where near the level that Dance
Movements was...Theatre Music was downright sightreadable (and that was
the only one I played first part on) except for a stray measure here or
there.
So...Sparke IS capable of writing within bounds.
> One could argue that that is the way it has always been, and this is the way
> <we> the writers will continue. I say there <IS> a better way. What about
> your voices guys? Are you content with writers who cannot see their way to
> treating the clarinet section with a little more respect and understanding?
As, I think you may be trying to point out...just because this is the way
it's always been done...doesn't necessarily excuse it. Some of the best
literature written for band is by Grainger, who wrote fantastically
complex and difficult clarinet parts, but they aren't IMPOSSIBLE...just
very technical (yay for metronome practice!). Grainger, I think, sets an
EXCELLENT example of how to write well, and to understand the instruments
he was writing for.
I can recall reading on this list from various players playing works for
the first time with composers listening, and complaining, "Can't you click
your keys louder, or do this and that and blah blah blah?!" and the
players get disgruntled, because short of breaking their instruments,
there's no real way to give the composer what they want.
But therein is the stupidity involved - you composed a method or technique
for that instrument...a sound in your head that you heard, and you assumed
that THAT particular instrument would be capable of doing, and when you
discover that it's your own lack of familiarity with the instrument that
keeps what you hear in your head and away from reality, you have the gall
to blame US, the performers?
Personally, I haven't come across very many pieces that fall into the
category of unplayable...Dance Movements is one...Stravinsky's Circus
Polka is another (but that may have been simply because it was my first
time playing first part and I was matched way out of my league). I
imagine, however, Tony, that you, being a far more accomplished and
experienced player than I, have experienced it more, and therefore have
stronger feelings about it than I. That may be why there wasn't as much
response as you expected...
Or maybe there's just so much more well-written repertoire for some of us
to feel we need to raise a stink...I don't think we need to raise a big
one, but in the case that we should let a specific composer know what's
going on...yeah, you're right about that. We probably should say
something.
Maybe I'm just too young and optimistic to get mad yet...and instead, I've
got the mindset that maybe if I just practice more, I'll be able to play
it. Either way, even if practicing more won't make me able to play it, at
least I'll have practiced more. *laughs*
Again...good points, Tony, and well made.
J. Shouryu Nohe
http://web.nmsu.edu/~jnohe
Professor of SarCaSM102, New Mexico State Univ.
"I think we have a ghost in our house." - Kaycee Nicole
---------------------------------------------------------------------
Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
Subscribe to the Digest: klarinet-digest-subscribe@-----.org
Additional commands: klarinet-help@-----.org
Other problems: klarinet-owner@-----.org
