Klarinet Archive - Posting 000703.txt from 2001/10

From: AnneLenoir@-----.net (Anne Lenoir)
Subj: Re: [kl] When to teach voicing for altissimo notes
Date: Sun, 21 Oct 2001 22:35:38 -0400

When I was at ClarineFest 2001 in New Orleans, I stopped by the booth of
a clarinetist who's name I cannot remember, who had written a very
lengthy book on clarinet playing, and I can't remember the name of the
book either, and I couldn't afford to buy the book at the time. He was
apparently a very accomplished clarinetist, had graduated from
Curtis years ago, and I perused his book, which had a long section on
"harmonics". I had my clarinet with me and asked him to explain the
value of harmonics. What he had to say was similar to what Robert was
talking about, i.e. playing a root note, like a throat G, then
"squeeking" the note and hitting a high D. I know that many saxophone &
flute players have used the teaching of "harmonics" to show where the
note can go by "overblowing" and hitting several other notes in the
overtones. I was only at the booth for a while, but I could see the
value of playing harmonics, just to see how the overtones would come
out. I can't remember the reason he gave for the study of playing
harmonics, but I knew that they were of value to me. I wish I had bought
the book. I think it cost $40 or more.
Anyhow, Robert, since I read your post and forgot most of it, I did
remember what you said about hitting a throat G and then squeeking it to
hit a high D, and every time one of my students would accidentally
squeek on a throat G, I would compliment them on accidentally hitting a
high D and ask them to sustain the D. You are right. They could all
sustain the high D quite naturally. I know that it can be difficult to
describe a "system" that is working for you without really having a good
shot at demonstrating your concept. I believe that your concept is
probably very useful. I know that flute players who have studied with
Marcel Moyse swear by it. ANNIE

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