Klarinet Archive - Posting 000511.txt from 2001/10

From: Stan Geidel <sgeidel@-----.net>
Subj: [kl] "successful faking"
Date: Tue, 16 Oct 2001 11:04:07 -0400

Perhaps I missed the beginning of this thread, so forgive me if I appear
uninformed about what has previously transpired.

Lacy states:
> Well, Tony, I had a coaching session last weekend with a clarinetist
> from the St. Louis Symphony (who is brilliant, by the way!), and she
> emphasized the usefulness of successful "faking." It's like the fine art
> of b.s.sing in an English paper.

I find this concept of "successful faking" rather disturbing. First, if
you are "faking," then clearly you are not "successful" in playing the part.
Second, and more importantly, it seems to me that if you set out to "fake
it" convincingly, you would need to prepare. Why not put that preparation
time into learning the actual part?

Lacy, am I missing something here? Perhaps you are talking about very
specific items, such as playing an occasional harmonic in the midst of an
extremely fast passage (e.g., overblowing "open G" to produce high D), or a
trill fingering that is out of tune but acceptable under certain
circumstances? Again, please forgive me if I've missed the beginning of
this discussion, but surely you are not talking about anything more than
those examples I've given...

Stan Geidel
___________________
Dr. Stanley Geidel
Editor and Publisher
THE ONLINE CLARINET RESOURCE
www.ocr.sneezy.org

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