Klarinet Archive - Posting 000297.txt from 2003/06

From: Dan Leeson <leeson0@-----.net>
Subj: Re: [kl] Keys and their character-AAAAAHHHHHHH!
Date: Tue, 10 Jun 2003 14:31:21 -0400

Well, I can't do as you ask in the final sentence, because I don't play
cello. And if you chose not to discuss this matter any further, that's
OK with me because you have said little so far except to express so very
old and questionable opinions about what is true or not true. I am sorry
if you see someone who disagrees with you as being extremely arrogant
and disrespectful. Frankly, I don't think much of your ability to
communicate effectively either.

Dan Leeson

Brash, Alexander wrote:
> Hello,
> I'm going to give up on arguing with Mr. Leeson, and not because I
> shrink from arguing, but because of his extremely arrogant and disrespectful
> manner. Who the hell do you think you are, the "Messiah" of music out to
> "kill all the bad ideas." There are scholars of music far more learned than
> you and, and performers of a far higher caliber, as well as EVERYONE I know
> with perfect pitch (including me), who will insist that different keys MEAN
> different things to them. You can't tell them they're wrong just because
> they can't prove it. You accuse me of not providing facts, but then provide
> none of your own, all the while ignoring all the technical information I
> suggested about the nature of string playing in period practice, and how
> this could literally make things sound "lighter" or "darker." Maybe I'm
> wrong, and these ideas certainly aren't mine, but it makes sense to me,
> because THAT'S HOW I HEAR IT! Do you suggest that Mozart and Beethoven chose
> their tonic keys by chance, and chained the other keys together in a manner
> to avoid boredom? First of all, the relative chaining of keys is A LOT more
> complicated than "avoiding boredom," and second of all, I reject the fact
> that a genius like Mozart or Mendelsohn, when they sat down and started
> writing a piece, just picked a key at random and went from there. Play me
> the opening cello theme from the Brahms B major trio in Db major, and it's
> going to FEEL different.
>
>
> Alexander Michael Brash
> Education Dept, New York Philharmonic
> 10 Lincoln Center Plaza, 5th Floor
>
> phone (212) 875 - 5735
> cell (646) 284 - 0439
> email brasha@-----.org
>
>
>
> -----Original Message-----
> From: Dan Leeson [mailto:leeson0@-----.net]
> Sent: Tuesday, June 10, 2003 12:28 PM
> To: klarinet@-----.org
> Subject: Re: [kl] Keys and their character-AAAAAHHHHHHH!
>
> Of course we will talk about it again, ... and again and again until it
> is dead. Bad ideas take a lot of killing and this one is particularly bad.
>
> Next comes "dark sound." Feel free to gnash your teeth.
>
> Dan
>
> Gil Guerrero wrote:
>
>>AAAAAHHHHHHH!!!! (with appropriate sound of rending of shirt and
>>gnashing teeth.)
>>
>>Not the Key personality argument AAGGGAAAAAIIIIINNNNN!!
>>
>>"Step into my parlor," said the Spider to the Fly...
>>
>>Can't we just talk about how many angels can fit on the head of a pin?
>>The answer being, of course, three.
>>
>>
>>
>>>The idea that each key had its own personality (with A and E being
>>>bright) and D-flat, G-flat being serious (or whatever), is another
>>>romantic assertion that doesn't have a leg to stand on.
>>
>>
>
>
>

--
***************************
**Dan Leeson **
**leeson0@-----.net **
***************************

---------------------------------------------------------------------
Klarinet is supported by Woodwind.Org, http://www.woodwind.org/