Klarinet Archive - Posting 000848.txt from 2001/10

From: "Buckman, Nancy" <nebuckman@-----.us>
Subj: RE: [kl] A correction
Date: Fri, 26 Oct 2001 14:55:22 -0400

Annie (and everyone else who wishes for a C clarinet),

I left my C clarinet with the Patricola brothers at the Fest, as I was
having difficulty with pitch on the throat Bb. Before I let them take it
back to Italy with them, even with the poor intonation on that one note, I
was doing an awful lot of work playing that instrument. I just got it back
and used it at orchestra rehearsal last night. In addition to sounding just
as lovely as my other clarinets, the conductor was most complimentary about
its sound and the ability to blend so well with everything else that was
going on in the orchestra (something that definitely didn't happen before
they took it with them). More important to me though, is the ability to
play musically without having to wrestle with awkward fingerings. It is
indeed a pleasure.

Nancy

P.S. How do I get Fernando's pieces? I seem to have missed those
instructions somehow.

-----Original Message-----
From: AnneLenoir@-----.net]
Subject: Re: [kl] A correction

Dear Tonys, (Is that the correct plural form?) Wakefield & Pay, and also
Fernando Sylveria
I have just been practicing my new C-clarinet, and I don't see how
I ever lived without it. I have often wondered what the purpose was for
learning Rose Etudes and various things that we study. I know about the
technical and musical reasons, but I am the kind of person who likes to
get out and play all the time. I have no idea who I could perform the
Rose Etudes for. I was barely able to work up #26 for the contest, and I
do believe it's "gone" now, because I don't know anybody who wants to
listen to it. I guess you could say that I'm a show off. When I play for
the "public" it isn't necessarily in a concert hall. (In fact, I played
in a concert hall, this Sunday, for the first time in many years when
our wind ensemble "The Little London Winds" went to lovely Lamar,
Colorado on Sunday for a community concert.) I usually play at art
shows, farmers markets, neighborhood bars and resturants, private
parties and nursing homes.
But the point I am leading up to is that these Brazillian tunes,
most of them by Pixinguina, the Duke Ellington of Brazil, were written,
mostly in 16th notes, with a lovely Samba-like feel. Some of them feel
like a Latin Polka with beautiful syncopation and chord changes. And
they are so much fun to play. I am certain that the public will love
them. Back to practice "Tico Tico" and "Segura Ele" ANNIE

---------------------------------------------------------------------

---------------------------------------------------------------------