Klarinet Archive - Posting 000212.txt from 2001/12

From: "Karl Krelove" <kkrelove@-----.com>
Subj: RE: [kl] Double Jointed Thumbs
Date: Sun, 9 Dec 2001 13:20:13 -0500

Lorie (and others who may have already reacted to I wrote earlier),

I forgot to mention that I have seen register key arrangements on a couple
of instruments that involved plateau and other register key shapes that
surround the thumb ring more than the usual long register key does. I don't
know if these would be of any help or not because I've never tried one with
this specific problem in mind, but they'd be worth investigating. I can't
remember which instruments I've seen with these kinds of modifications
already built in, but maybe someone else on the list knows.

Karl Krelove

> -----Original Message-----
> From: Ms. Sherwin [mailto:surewin120@-----.com]
> Sent: Saturday, December 08, 2001 2:17 PM
> To: klarinet@-----.org
> Subject: [kl] Re: klarinet Digest 8 Dec 2001 09:15:01 -0000 Issue 3500
>
>
> I have a question on double-jointedness. I was
> searching the net on double-jointed fingers, and I
> found a couple webpages which said that those with
> double-jointed thumbs should not play the clarinet,
> but didn't explain why. Does anyone know why?
>
> I'm double-jointed, and I was trying to find out how
> to get my fingers to move freely, without getting
> stuck. Does anyone have any suggestions?
>
> Lorie
>
> --- klarinet-digest-help@-----.org wrote:
> > klarinet Digest 8 Dec 2001 09:15:01 -0000 Issue 3500
> >
> > Topics (messages 49391 through 49412):
> >
> > V's in Nielsen Concerto
> > 49391 by: "Mark Charette" <charette@-----.org>
> > 49392 by: "Doug Sears" <dsears@-----.net>
> >
> > Subject: Material...was: Clarinet Bores - not me -
> > the internal dimension kind.
> > 49393 by: "Don Yungkurth" <clarinet@-----.net>
> > 49399 by: GrabnerWG@-----.com
> >
> > Material...was: Clarinet Bores - not me - the
> > internal dimension kind.
> > 49394 by: Daniel Leeson <leeson0@-----.net>
> > 49395 by: Daniel Leeson <leeson0@-----.net>
> > 49396 by: Daniel Leeson <leeson0@-----.net>
> > 49397 by: GrabnerWG@-----.com
> > 49401 by: "Tim Roberts" <timr@-----.com>
> > 49403 by: Bill Hausmann <bhausmann1@-----.net>
> > 49410 by: "Karl Krelove" <kkrelove@-----.com>
> >
> > Sound character of my basset horn (redux)
> > 49398 by: Daniel Leeson <leeson0@-----.net>
> > 49400 by: Steve White <shwhite2@-----.net>
> >
> > Key oil and bore oil usage; was how often?
> > 49402 by: "Patricia Smith"
> > <pattiesmith@-----.net>
> > 49404 by: "Ragnhild Kristine Brekke"
> > <rkbrek99@-----.no>
> > 49409 by: "Karl Krelove" <kkrelove@-----.com>
> >
> > Northwestern
> > 49405 by: Mark B <markbmtl@-----.com>
> >
> > how often?
> > 49406 by: Mark B <markbmtl@-----.com>
> >
> > new member
> > 49407 by: Mark B <markbmtl@-----.com>
> >
> > Banjo
> > 49408 by: agalper <agalper@-----.com>
> > 49411 by: Neil Leupold <leupold_1@-----.com>
> > 49412 by: David Renaud <manonrivet@-----.ca>
> >
> > Administrivia:
> >
> > To subscribe to the digest, e-mail:
> > klarinet-digest-subscribe@-----.org
> >
> >
> > To post to the list, e-mail:
> > klarinet@-----.org
> >
> >
> >
> ----------------------------------------------------------------------
> > Date: Fri, 7 Dec 2001 15:23:48 -0600
> > To: <klarinet@-----.org>
> > From: "Mark Charette" <charette@-----.org>
> > Subject: RE: [kl] V's in Nielsen Concerto
> > Message-ID:
> > <AGEIKNDAJOKEIOHFKLEIOEGGCGAA.charette@-----.org>
> >
> > You may want to check out :
> >
> >
> http://www.sneezy.org/clarinet/Study/NielsenNotes.html
> >
> > and
> >
> > http://www.sneezy.org/clarinet/Study/Nielsen.html
> >
> > Mark C.
> > > -----Original Message-----
> > > From: Stephen C. Moore
> > [mailto:stmoore@-----.edu]
> > > Hey gang, I'm sure this is an easy question. I'm
> > studying the Nielsen
> > > Concerto and would like some clarification on the
> > V marks I see all over
> > > the part. I believe they are suggest or required
> > breathing spots, my
> > > instructor believes they are the spots where the
> > orchestra enters. The
> > > following explanation is printed at the top left
> > of my part:
> >
> > ------------------------------
> >
> > Date: Fri, 7 Dec 2001 13:22:17 -0800
> > To: <klarinet@-----.org>
> > From: "Doug Sears" <dsears@-----.net>
> > Subject: Re: [kl] V's in Nielsen Concerto
> > Message-ID: <006301c17f65$3fe548e0$0fbabdcf=BigD>
> >
> > > The following explanation is printed at the top
> > left of my part:
> > > V = Vejrtraekning
> > > V = Atemholung
> >
> > Atemholung is German for the taking of breath.
> >
> > --Doug
> >
> > ------------------------------
> >
> > Date: Fri, 7 Dec 2001 17:11:00 -0500
> > To: "Klarinet" <klarinet@-----.org>
> > From: "Don Yungkurth" <clarinet@-----.net>
> > Subject: Subject: Material...was: Clarinet Bores -
> > not me - the internal dimension kind.
> > Message-ID: <001001c17f6c$0fca5b80$d89f69d1=eznet>
> >
> > Walter Grabner quoted someone:
> >
> > << The assumption that material has little or no
> > effect on tone ......>>
> >
> > and proceeded to give his personal experience with
> > barrels of various
> > materials. He said (greatly edited)
> >
> > >I am going to dispute this assumption, and dispute
> > it vigorously.
> >
> > >Material DOES make a difference, and we as
> > clarinetists know that
> > instinctively.
> >
> > HUGE CUT
> >
> > >Please let me know....I know you all WILL.....what
> > you think of my
> > hypothesis.
> >
> > I've read Dan Leeson's traditional rebuttal about
> > the lack of science and
> > basically agree that there is no such thing as a
> > single variable experiment
> > (which he didn't say). Essentially this argument is
> > that, "If everything
> > were equal, everything would be equal". While
> > trained in science myself,
> > I'm of the belief that most of these discussions
> > fall into the large gray
> > area where the opinion of those skilled and/or
> > successful in the art is of
> > greater value than scientific attempts.
> >
> > That said, my own personal experience, along with
> > the demonstrations of a
> > wonderful player and teacher, indicate that what the
> > individual player of
> > the
> > clarinet hears is not necessarily the same as what
> > is heard a few feet away
> > or in row 25 of a theater.
> >
> > I wonder what a person familiar with Walter's
> > playing would have said about
> > the difference in sound from the different barrels.
> > When I experimented
> > with Legere reeds, I was pleased that my wife could
> > not tell the difference
> > in my sound between cane and plastic. At a chamber
> > music week last summer,
> > I had string players come up to me and ask if it
> > were really true that I was
> > using plastic reeds. They said pleasant things
> > about my sound!
> >
> > Oh yes, the individual ears are an important
> > variable. I can't tell if
> > someone is using a glass mouthpiece.
> >
> > Don Yungkurth (clarinet@-----.net)
> >
> > ------------------------------
> >
> > Date: Fri, 07 Dec 2001 17:47:21 EST
> > To: <klarinet@-----.org>
> > From: GrabnerWG@-----.com
> > Subject: Re: [kl] Subject: Material...was: Clarinet
> > Bores - not me - the internal dimension kind.
> > Message-ID: <180.59bd30.2942a101@-----.com>
> >
> > Don Y says:
> >
> > << I wonder what a person familiar with Walter's
> > playing would have said about the difference in
> > sound from the different barrels........>>
> >
> > Don, that is indeed what happened. Several people
> > with whow I have played for over five years have
> > come up to me and inquired about the "improvement"
> > in sound.
> >
> >
> === message truncated ===
>
>
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