Klarinet Archive - Posting 000531.txt from 2001/10

From: Richard Bush <rbushidioglot@-----.com>
Subj: Re: [kl] "successful faking"
Date: Wed, 17 Oct 2001 03:21:03 -0400

As already pointed out, eloquently and articulately by several, there's no
substitute for actually playing the notes. However, I wish to raise the
question about using the word "fake" for fingerings. ALTERNATE fingerings
have their place. When choosing a fingering, one must consider the
priorities: 1) tuning, 2) timbre, 3) required dynamic level and 4)
achieving the required fluidity. The priorities vary from piece to piece,
the tuning one must match with another or others, and the speed or velocity
or technical difficulty.

Having a bag of tricks does not necessarily make one a faker.

Lacy Schroeder wrote:

> Speaking of Shostakovich....for Stan, just to let you know, I playd
> Shostakovich's 1st a few years ago, and not one single note was faked by
> me! :) (Which includes fake fingerings and glossing over runs) But I've
> not played the 10th yet....hehe, It sounds like you're having the
> opposite problem, Roger!
>
> I'm glad you're such a good sport, Stan. Don't you go changin' now!
>
> Lacy
>
> > This reminds me of the last few rehearsals of the Shostakovitch 10th
> > Symphony that we have had. It is so frustrating to spend so
> > much time
> > working out the technique/speed of the 2nd and (more
> > difficult perhaps) the
> > 4th movement - only to have the orchestra go at quarter = 160
> > instead of
> > 176 - and even then, there are woodwind and string players
> > who haven't
> > practiced it!
> >
> > Now THERE is some true faking......!
> >
> > Best,
> > RG
>
> ---------------------------------------------------------------------

-- Richard Bush
Bassoon Reed Maker

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