Klarinet Archive - Posting 000527.txt from 2001/10

From: Stan Geidel <sgeidel@-----.net>
Subj: Re: [kl] "successful faking"
Date: Wed, 17 Oct 2001 03:20:59 -0400

Lacy replies:

<<Do you really think DeFalla or anyone expects someone to
play all of the 16ths in the runs at dotted quarter=180?? Even if one
were to play it note for note, would it really make that much of a
difference? >>

I am particularly interested in Lacy's question, "would it really make that
much of a difference?" I've had my say; no need to repeat myself. What
say you all?

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

----- Original Message -----
From: "Lacy Schroeder" <LacyS@-----.org>
Subject: RE: [kl] "successful faking"

> 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=180?? 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?
>
> 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.
>
> 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"
> >
> >
> > Well, Lacy, we have some philosophical differences here. You say,
> >
> > <<It's just if there is a particular passage that even
> > professionals have
> > great difficulty whiffing out, faking is a good way to go,
> > especially if the
> > passage is just for effect and won't be heard anyway.>>
> >
> > A few comments... first off, professionals work their tails
> > off to play all
> > those tough passages, and yes, this may be done with great
> > difficulty, but
> > the real pros actually play all that stuff, and take great
> > pride in doing
> > so. That's part of being a professional. Second, faking is
> > never a "good
> > way to go." It's the easy way out, and a false way at that.
> > 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.
> > Why did the
> > composer bother to write those specific notes, if they
> > weren't important?
> > Finally, don't assume no one can hear those passages.
> > Importantly, YOU can
> > hear yourself. Your colleagues in the wind section can
> > 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
> > orchestra if
> > they suspect you are faking it). You may think "the audience
> > can't hear
> > it." Well, they surely won't if you don't play it!
> >
> > Your own personal standards are what will ultimately set you
> > apart from
> > others. Professionalism is as much an attitude as it is an
> > advanced set of
> > instrumental and musical skills. Taking shortcuts such as
> > "faking" certain
> > passages will catch up with you in the long run. Keep your
> > standards high -
> > it will pay off for you.
> >
> > With all good wishes,
> > Stan Geidel
> > ___________________
> > Dr. Stanley Geidel
> > Editor and Publisher
> > THE ONLINE CLARINET RESOURCE
> > www.ocr.sneezy.org
> >
> >>
>
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>
>

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