Klarinet Archive - Posting 000276.txt from 2002/04

From: Elgenubi@-----.com
Subj: [kl] Rosewood
Date: Mon, 8 Apr 2002 12:37:26 -0400

Hi List,
First, I'll check in, then I'll ask a specific question. I last wrote
to rather effusively describe hearing Tony Pay and Christopher Hogwood when
they came to Palm Desert. I have been practicing (I'm picking my clarinet up
again seriously after about 25 years) and have gotten a lot of moral support
by reading the list. I was particularly interested in a short thread
recently about sqeaking due to clumsy fingers. After that, I've realized
that my fingers contribute much more to my current squeaking that I would
have dreamed was possible when I was young. So it is good encouragement to
just practice and let the coordination come back. I'm also learning to relax
about reeds. When young I felt I had no control over reeds; I'm now allowing
myself to play a softer reed, and I'm simply prepping them and playing them,
and by reading the list, realizing that I'm in no different situation than
anyone else. I've got a batch worked up and at any given time some will be
great for a lesson, and the less than great ones help teach me control when I
practice. Best of all, this week I'm going to my first lesson in 25 years.
And this will be my first lesson ever with a working symphonic professional.
I'm pretty pleased.
Here's the specific question. What about Rosewood? When I get things
a little better under control, I would like to buy a new clarinet. I'm
enjoying the shopping. And I'm sure I'll enjoy the playing and selecting. I
think Rosewood makes a beautiful instument and I would like to consider it.
I've read comments lately about it's stability and I'd like some more input.
In the last weeks Nancy Buckman alluded to it requiring more care, but she is
very enthusiastic anyway. Kelly Abraham sounds as if he regrets getting his
Patricola ( C, was it?) in rosewood, because it's too changeble with
temperature and humidity. In general, I think I've read a lot of positives
about the Patricola E flats and C's, rosewood or grenadilla. Could it be
that if there is a problem, it's worse for the smaller instruments. I've
read some but not all of the archives, and have not found any reference to
this kind of instability in the big Selmer contras. What do you all think?
Or can anyone suggest more reading?

Thanks much,
Wayne Thompson

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