Klarinet Archive - Posting 000002.txt from 2006/03

From: fgarcia@-----.net
Subj: Re: [kl] Re: Comparative performance styles of Schumann's Fantasiestucke
Date: Wed, 01 Mar 2006 11:33:09 -0500

One can not completely get around the sound differences between a note
that leaks air next to the mouthpiece (side key B trill fingering for
ex.) compared to a note that travels the length of the instrument to
sound (long 2nd reg. B). Also, notes go directly into the air if the
hole is not covered by a pad, a completely different sound than a note
whose note is produced by a pad lifting from a hole. Low C and C# are
two examples. No matter how one tries, there is still a pad in the way
on a C# compared to a C, and will make a sound different than a C. This
is how to tell what note old Reggie is playing... or Harold Wright,
Karl Leister, etc.

I am pretty certain that Harold Wright plays the Bartok Contrasts on
the Bb. Why? Because of the sound and because of the technical
differences. On the A cl., the rapid notes in the 1st measure of the
cl. solo are all open tone holes, and rather easy to do rapidly. But
Buddy has a very slight technique glitch (that I believe every one of
us would have) that would not occur if he were playing (2nd register)
F# G A G F# E. Instead he plays on the Bb cl. E# F# G# F# E# D# (I
don't have the Bb version in front of me... I assume Bartok wrote E#).
David Schifrin uses the "one and one" Bb (2nd register) frequently,
more frequently than I do. But when you're aware of these different
approaches to technique, it is often a good exercise to investigate why
people do these things. Why does H. Wright play Bartok on Bb? Wny does
Schifrin use this fingering frequently? Trying new things often answers
in my mind what *I* should do and not do. What works for them may not
work for me.

Even though there are many "high quality" clarinetists, our instruments
have audible differences from note to note. It's not the players, it's
the keys, pads, wood, etc. that make it so.
Also, Schifrin/Rosenberger's Schumann is a wonderful version of the
Fantasy Pieces. I recently listened to the cd again and found that they
play as one mind, much different than I thought of it when I was a kid
(a clarinet solo). He plays like he is a pinky on her hand, like he's
connected conceptually to her.
Frank Garcia
former Principal Clarinet
San Diego Chamber Orchestra

On Feb 28, 2006, at 4:49 PM, Tim Roberts wrote:

> On Tue, 28 Feb 2006 09:15:44 -0600, fgarcia@-----.net wrote:
>
>> As far as telling whether Kell is playing on an A or Bb... the answer
>> is fairly simple. Listen for timbre changes in specific notes that are
>> easy to distinguish from each other. For example, a B natural over the
>> break (on the A) sounds much different than a Bb (on the Bb) in the
>> throat of the clarinet. Also C# in the 3rd register compared to a C in
>> the 2nd.
>>
>
> It's interesting you would say that. One of the characteristics that
> distinguishes "high-quality" clarinet playing in my mind is the
> relative
> lack of these kinds of timbre changes. Thea King, for instance, has a
> very consistent timbre, throughout nearly her entire range. I find it
> hard to identify the register changes in her playing, and I admire
> that. I have tried to emulate it, but as you say, crossing the break
> is
> a tough nut to crack.
>
> --
> Tim Roberts, timr@-----.com
> Providenza & Boekelheide, Inc.
>
>
> -------------------------------------------------------------------
> Klarinet is a service of Woodwind.Org, Inc. http://www.woodwind.org
>

-------------------------------------------------------------------
Klarinet is a service of Woodwind.Org, Inc. http://www.woodwind.org