Klarinet Archive - Posting 000210.txt from 2002/09

From: MVinquist@-----.com
Subj: [kl] Raymond Griffith - PROBLEMS!!!!!! (HELP!!!!!!!!!)
Date: Sat, 14 Sep 2002 09:22:54 -0400

Raymond -

For general material on technical problems, see my posting at
http://www.woodwind.org/clarinet/BBoard/read.html?f@-----. The
regimen I describe there is not easy, but every professional player has
worked through it, and you need to, too.

The Bach Double Concerto for Two Violins is truly great music, and you
shouldn't feel even a tiny bit guilty about playing it. The slow movement
goes particularly well on clarinets, with the two lines extending out to
infinity and twining around one another. Clarinets aren't violins, of
course. You can't do double stops, quick articulation that's easy up/down
bowing sounds strained and chicken-clucky on clarinet, and patterns that are
easy string crossings on violin become clumsy arpeggios on clarinet. Most
difficult of all is playing high passages gently and softly, which is natural
with a bow but effortful on clarinet. Listen to recordings and practice
making violinistic articulations and phrase shapes on clarinet. It's a great
way to expand your technique.

The Weber Grand Duo Concertante is one of the great clarinet works. You only
buy the music once and have it for the rest of your life, so skip a dinner
out and put down the cash. You should get a recording. My favorite is
Reginald Kell, which I think has been reissued on Boston Skyline. Nobody
caught the lusty, operatic feeling like Kell. Jon Manasse's recording is
also excellent. You might also read my performance notes on the Concertino
and the Second Concerto at
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=14529&t=14450 and
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=2985&t=2883, which
discuss the style.

On anchor tonguing, I posted a long analysis and gave exercises for switching
styles at http://www.woodwind.org/clarinet/BBoard/read.html?f@-----.

Improving tone is a long-term process. No two players sound alike, nor
should they. Nevertheless, you should listen to the great players --
Marcellus, Wright, Sabine Meyer, Leister -- to hear what they did and set
goals for yourself. For discussions and exercises, see
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=80189&t=80096
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=18806&t=18784
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=36765&t=36747
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=43807&t=43777 and
http://www.woodwind.org/clarinet/BBoard/read.html?f@-----.

The Stravinsky Three Pieces are discussed at:
http://www.woodwind.org/clarinet/Friedland/Repertoire003.htm
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=82010&t=81962
http://www.woodwind.org/Databases/Logs/1996/03/000527.txt and
http://www.woodwind.org/Databases/Logs/1998/03/001402.txt.

On plastic vs. cane reeds, you'll have to decide for yourself. I practice a
lot using a Legere. For playing outdoors, I wouldn't use anything else. For
critical work, cane is still best.

Best regards.

Ken Shaw

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