Klarinet Archive - Posting 000699.txt from 2001/10

From: rgarrett@-----.edu
Subj: Re: [kl] When to teach voicing for altissimo notes
Date: Sun, 21 Oct 2001 19:13:18 -0400

>Actually, I can only work with traditional techniques for the other
>instruments because I am not a specialist there. I can say though, that
>with brass players, I challenge them and hold a little showoff competition
>as a soon as a I/they can to play the bugle calls that come with playing
>harmonics starting on d' for trumpets. That's a whole other story
>though. In any case, I am teaching the clarinets the altissimo by wrote,
>not off the page. I am setting a physical foundation and expanding their
>understanding of the importance of the different parts of the body in
>playing the clarinet. So we do not play music that has them practicing
>the altissimo. Rather the kids have their own exercises and challenges
>give to them by demonstration and explanation.

But what literature do you have them play Robert? Do you have them play
repertoire? If so - what does the rest of the band play? Certainly you
don't fill the period with altissimo teaching and stuff like that and leave
the children for whom you don't feel you are a specialist holding the bag?

>I never said that their g'''s sounded like Karl Leister or Dieter
>Klocker. But they are controlled. They sound immature just like their
>first chalumeau notes did. But they are creating a foundation and
>visualization
>in their head that can be used for later. Also, just thinking here, I
>prefer to bring the kids DOWN to g'' and up to b'-f'' using the twelfths
>method.

I certainly understand. What do they do with the altissimo G
Robert? Especially when the brass are playing?

> >From reading your post, I get the impression that you are not able to
> release your experience with teaching *your* way and the traditional view
> of approaching the registers...as well as their timetables/order of approach.

I certainly appreciate what you are saying. The reason I don't feel I
should "release my experience" (whatever that means exactly!) is because I
haven't had any trouble with it. That's all. Since your description is
not generally accepted as the norm, and because I haven't seen it work
before - although I believe that it works for you - just not proof that it
works without you - then I don't just immediately accept and endorse what
you say as a good approach for young players. Pretty simple actually.

>The thing is, Roger, I do not have a problem cleaning these issues up
>after spending time on the altissimo with my kids.

If I may ask Robert, how long did you teach public school? Did you also
teach high school and jr. high? For how long? I am just curious to see
how your approach worked on a consistent level - that's my reason for asking.

>Sure it is. I agree. And, btw, I personally understand what you mean
>"overblowing the harmonics", but with 5th and 6th graders "squeak" makes 10x
>more sense. ;-)

I certainly understand your desire to be specific with the semantics. I
had a lot of fun presenting a lecture demonstration to the Illinois Music
Educators at the convention last year - it was entitled - "Extra Credit for
Squeaks" - so I want to assure I understand your enthusiasm for the use of
that word.

>Thanks for your response.

You are most certainly welcome!

Best,
Roger Garrett

Illinois Wesleyan University
PO Box 2900
Bloomington, IL 61702-2900

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