Klarinet Archive - Posting 000580.txt from 2001/09

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Recognizing what is on the page
Date: Sun, 16 Sep 2001 16:20:26 -0400

Bill W.,
How did you *judge* this comparison of volumes? It is quite difficult to know
how just 2 instruments balance without an auditor.
Roger S.

In message <20010916.195015.38@-----.org writes:
> On Sun, 16 Sep 2001 08:43:28 -0700 (PDT), Bilwright@-----.net said:
>
> > When I tried (still trying) to write a duet for two Bb clarinets, and
> > when I asked her to play the lower part with me (lower on the printed
> > page and also lower in pitch), she automatically played gently.
> > However I had imagined two voices playing separate melodies with equal
> > strength. I had marked the two parts identically, and I had assumed
> > that this would convey my intent.
>
> Such an intent would normally be conveyed in a duet, which is quite
> transparent as music goes.
>
> However, sometimes it can be difficult to achieve what you describe when
> two players have different sounds. I don't know your playing, but it's
> not every pair of clarinet players whose sounds go together to achieve
> what you say you intended. Being able to be one of such a pair, at
> least when the other is sufficiently able, is what learning to play is
> all about.
>
> > Yet it didn't. She played gently and the upper voice became the
> > primary line.
>
> Then asking her to play more strongly would be the first step towards a
> solution. Or, you could ask her to play a little more strongly, or with
> a more penetrating sound, while you played a little less strongly, or
> with a less penetrating sound.
>
> Did you try that, and if you did, what did she say?
>
> > Based on Tony's comments, I added (in English) "Equal voices"; but
> > deep down in my heart, I know that this will make an experienced
> > musician chuckle at the amateurish style. Tony's point, of course,
> > was that this isn't usually done.
>
> But in general, it might be. Composers sometimes write footnotes if
> they want to call attention to a particular feature of what they wrote
> that might be misunderstood.
>
> I was just playing Mahler's First Symphony (on my Ottensteiners, the
> strings pretty much without vibrato, and so on), and there are several
> such footnotes in Mahler's score, instructing the conductor to make sure
> that the players understand various points.
>
> But in your case, finding out how to get the effect you want when you're
> both the composer *and* one of the players would be bound to lead to an
> interesting discussion with your teacher, perhaps leading to further
> development of your own playing.
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN artist: http://www.gmn.com
> tel/fax 01865 553339
>
> ... Support bacteria - they're the only culture some people have
>
> ---------------------------------------------------------------------
>
>

--
Left hand, off land, I hear the lark ascend,
His rash-fresh re-winded new-skeined score
In crisps of curl off wild winch, whirl, and pour
And pelt music, till none's to spill nor spend

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