Klarinet Archive - Posting 000526.txt from 2001/10

From: "Lacy Schroeder" <LacyS@-----.org>
Subj: RE: [kl] "successful faking"
Date: Wed, 17 Oct 2001 03:20:58 -0400

Stan,

I don't think you really understand what I meant. I never just sit there
and act like I'm playing or just play a mess of notes to make it sound
like I'm doing something. My standards are higher than that! But, take
for instance, the last page of Borodin's Polovetsian Dances. The high G
in that passage is MUCH easier if you fake the fingering and play it
above the thumb C. Noone can tell the difference. My teacher this
summer, who studied with Russianoff and Niedich to name a few, and has
degrees from Yale and Juilliard, told me to do things like this as often
as I can to make the altissomo fingerings easier, as long as I play them
evenly, smoothly, and control the pitch and volume. It's not intended to
just smear over a passage, but sometimes using the "real" fingerings are
more troublesome. Doesn't anyone else here use harmonics, or am I crazy?

And there are other passages, such as in the end of DeFalla's Three
Cornered Hat. Do you really think DeFalla or anyone expects someone to
play all of the 16ths in the runs at dotted quarter=3D180?? Even if one
were to play it note for note, would it really make that much of a
difference? I've been told by several professional clarinetists and
other professional musicians that a certain passages are meant for
effect, like a rip, and getting every single last note is not the most
important thing. Of course, you want to play as many notes as accurately
as possible, but when it's a ridiculous passage, what else can you do?=20

And I know about conductors that can hear everything. I've worked with
several of them, and not one of them has ever said a word about a fake
fingering I've used! And of course, I always work out a passage to the
best of my ability. I know that being lazy will catch up with you.=20

Sorry if I wasn't clear before...

Lacy

> -----Original Message-----
> From: Stan Geidel [mailto:sgeidel@-----.net]
> Sent: Tuesday, October 16, 2001 12:01 PM
> To: klarinet@-----.org
> Subject: Re: [kl] "successful faking"
>=20
>=20
> Well, Lacy, we have some philosophical differences here. You say,
>=20
> <<It's just if there is a particular passage that even=20
> professionals have
> great difficulty whiffing out, faking is a good way to go,=20
> especially if the
> passage is just for effect and won't be heard anyway.>>
>=20
> A few comments... first off, professionals work their tails=20
> off to play all
> those tough passages, and yes, this may be done with great=20
> difficulty, but
> the real pros actually play all that stuff, and take great=20
> pride in doing
> so. That's part of being a professional. Second, faking is=20
> never a "good
> way to go." It's the easy way out, and a false way at that. =20
> It's certainly
> not a professional approach. Third, if a passage is "for effect," the
> effect is best achieved with the notes the composer wrote. =20
> Why did the
> composer bother to write those specific notes, if they=20
> weren't important?
> Finally, don't assume no one can hear those passages. =20
> Importantly, YOU can
> hear yourself. Your colleagues in the wind section can=20
> probably hear you,
> too, even in dense passages. Some conductors seem to be able to hear
> EVERYTHING (and they may ask you to play the passage for the=20
> orchestra if
> they suspect you are faking it). You may think "the audience=20
> can't hear
> it." Well, they surely won't if you don't play it!
>=20
> Your own personal standards are what will ultimately set you=20
> apart from
> others. Professionalism is as much an attitude as it is an=20
> advanced set of
> instrumental and musical skills. Taking shortcuts such as=20
> "faking" certain
> passages will catch up with you in the long run. Keep your=20
> standards high -
> it will pay off for you.
>=20
> With all good wishes,
> Stan Geidel
> ___________________
> Dr. Stanley Geidel
> Editor and Publisher
> THE ONLINE CLARINET RESOURCE
> www.ocr.sneezy.org
>=20
>>=20

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