Klarinet Archive - Posting 000062.txt from 2007/03

From: Adam Michlin <amichlin@-----.com>
Subj: RE: [kl] Hearing is believing, or is it?
Date: Mon, 05 Mar 2007 06:26:37 -0500

Jazz musicians can be identified as much by their choice of note,
phrasing, and (for lack of a better term) overall style. I am fairly
convinced I could recognize Charlie Parker versus Johnny Hodges or
Eddie Daniels versus Sidney Bechet even based on lifeless midi
reproductions much as I hope I could do with Mozart and JS Bach. On
the other hand, jazz offers such a wide array of options for even
something as standard as the tune "Summertime", I am not not sure
these points are as relevant to identifying orchestras as they might seem.

As to orchestra styles, it seems fairly evident to me that many
orchestra and orchestral sections have schools of training or certain
renowned private teachers associated with them. Philadelphia and
Curtis being perhaps the most obvious one with the Chicago brass
section and Arnold Jacobs probably close behind. How many clarinet
players have sat in the principal clarinet position of Philadelphia
who were not directly or indirectly influenced by the pedagogy of
Daniel Bonade? Then you add the personality of the conductor, who can
shape an orchestra in all sorts of interesting ways, and it doesn't
seem such a far stretch that individual orchestras have individual
sounds that can quite often be recognized aurally. At least if one
spends enough time studying and practicing...

-Adam

At 12:25 AM 3/5/2007, kurtheisig@-----.net wrote:
>So the ability to recognize different sounds is a standard musical
>skill. It isn't restricted to just studio musicians. I know many
>dozens of jazz musicians that can identify most of the jazz
>musicians I listed. Many a college class teaches this, but I think
>most jazz afficiandos posses a fair degree of this skill.

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