Klarinet Archive - Posting 000395.txt from 2004/10

From: Simeon Loring <sloring1@-----.com>
Subj: Re: [kl] Anticipation
Date: Fri, 15 Oct 2004 09:05:17 -0400

This is a technique that both he and Russianoff used (Leon took some
lessons with Bonade). The theory was that if you place your fingers
down slightly before you tongue the note you have precluded the
possibility of getting a grace note in error. As far as I know,
current pedagogy doesn't use this technique, but rather emphasizes the
need for precise articulation and fingering at the same time. Stopping
the note with the tongue is still the way I play very short notes. I
find that it also prepares the tongue for the next note.
On Oct 15, 2004, at 8:35 AM, Adam Michlin wrote:

> Dear List,
>
> I am curious if any of you have heard the term "anticipation" used in
> reference to what Daniel Bonade referred to as the stopped staccato
> technique (stopping the note with the tongue, moving the fingers prior
> to playing the next note, and then releasing the tongue for the new
> note). I have talked with several Bonade students as well as students
> of students and never heard this term used. I am fairly confident Mr.
> Bonade did not use this term.
>
> It is possible it was coined by Mr. Abato and he tells me he seems to
> recall learning the term and technique from the great cellist, Frank
> Miller (not to be confused with the great comic book author). Mr.
> Abato did take one or two lessons from Mr. Bonade (a *very* long time
> ago) so it is possible he learned the technique from Mr. Bonade and
> does not remember doing so.
>
> It is certainly possible that Mr. Abato and Mr. Bonade developed these
> techniques separately, but I'm curious to see if there is some link. A
> list member has related to me that he learned this technique from Leon
> Lester who likely learned it from Lucien Cailliet. Lucien Cailliet was
> a very good friend of Mr. Abato's, but never studied with either
> Bonade or Abato. Both Abato and Bonade were younger than Cailliet
> (Abato significantly so), it seems unlikely that Cailliet would have
> studied with either of them. Please feel free to correct me.
>
> I'd also be curious if anyone knows who Cailliet studied clarinet with.
>
> Any thoughts on the origin of this technique would be greatly
> appreciated.
>
> -Adam
>
>
>
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