Klarinet Archive - Posting 000210.txt from 2005/01

From: "John D. Stackpole" <jstackpo@-----.org>
Subj: Re: [kl] RE: Rhapsody in Blue Gliss
Date: Fri, 14 Jan 2005 08:55:49 -0500

A physics (sorta) question...

If one (not me, that's for sure) is playing the glissando are you not
playing EVERY tone from start to finish? A continuous run thru the
frequencies (at least in principle)? Even those in between C and C#,
for example. And every other "normal" discrete pair of notes?

That would be, in sense, "more" that chromatic, and certainly more
than diatonic.

Or am I just demonstrating that I don't really know what a proper
glissando is.

JDS
----- Original Message -----
From: "Karl Krelove" <karlkrelove@-----.net>
To: <klarinet@-----.org>
Sent: Friday, January 14, 2005 8:18 AM
Subject: RE: [kl] RE: Rhapsody in Blue Gliss

Of course the notation is by now meaningless, and I didn't mean to get
into
the history either - only to point out that there's no reason why any
part
of the run that's fingered must be chromatic.

Karl

> -----Original Message-----
> From: Bryan Crumpler [mailto:crumpletox@-----.com]
> Sent: Friday, January 14, 2005 7:36 AM
> To: klarinet@-----.org
> Subject: [kl] RE: Rhapsody in Blue Gliss
>
>
> >From: "Karl Krelove" <karlkrelove@-----.net>
> >The notation in the part, after all, is for a diatonic scale all
the way
> >up, not chromatic.
>
> The notation in the part can be ignored. According to what I've
> researched,
> the smear was used in the first performance after the clarinetist
(whose
> name I forget) smeared it in a rehearsal... just as a joke. And
Gershwin,
> who was conducting at the time, loved it and instructed that it be
played
> that way in the premiere performance. The smear has been adopted by
> clarintists ever since. This history is exactly what I did NOT
> want to get
> into.
>
> My concern is that I can comfortably and effectively gliss the
> entire range
> of the horn (well, standard range from low E to 4th octave G) as was
> mentioned about Schifrin. It was something I figured out how to do a
few
> years ago after working on the Copland.... But my current teacher
claims
> glissing the entire opening passage of the Rhapsody is wrong -
european
> classical thinking perhaps. So my main question is... is glissing
> the entire
> passage flat out unacceptable... or is there really a standard,
> "acceptable"
> way to do that opening passage. From the responses, I gather that
what my
> teacher thinks is more a result from the fact that most clarinetists
> fingerfudge it up to a point where he/she *can* gliss comfortably
> up to the
> C. And I can understand how that has become somewhat of a standard
due to
> the difficulty involved in smearing over the break, but either
> I'm blind or
> just stubborn in trying to understand why smearing the entire
> passage would
> be "unacceptable" per se.
>
> Bryan
>
> P.S.
> For those who might inquire, what I end up doing to achieve a
> smear across
> the break is loosening the embouchure, dropping the tongue, and
fingering
> chromatically across the break. If your embouchure is loose enough,
the
> notes won't sound articulated, but will rather run together. I do
that up
> until the 4th line D and then fingersmear the rest of the way to
> the high C.
> And what you end up getting is a rather chromatic smear across the
entire
> range.......... easier said than done ---- also better demonstrated
than
> expained by email. But you get the idea.
>
> http://www.whosthatguy.com
>
>
>
> --------------------------------------------------------------------
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> Klarinet is a service of Woodwind.Org, Inc. http://www.woodwind.org
>
>

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