Klarinet Archive - Posting 000220.txt from 2007/12

From: Tony Pay <tony.p@-----.org>
Subj: Re: [kl] Legato Finger Motion
Date: Mon, 31 Dec 2007 18:23:30 -0500

On 31 Dec, Adam Michlin <amichlin@-----.com> wrote:

> ...I prefer the term smooth over term legato in that legato connotates
> certain musical styles whereas smooth movement of the fingers is relevant,
> at least in my experience, to all styles and speeds of music. A semantic
> argument, perhaps. Nonetheless, I would submit that Mr. Morales' musicality
> is, in part, based on such smooth fingers.

'Smooth movement of fingers' is a description on the technical level.
'Musicality', whatever it means, lives on a different level.

If Mr. Morales is musical (and I say that partly because I don't know his
playing well enough to judge; but also, partly, wickedly, to see whether
people will read this so superficially that they will take me to be saying
that he *isn't* musical) -- then what he does will be justified by what he
produces with regard to legato in all its varieties, not by how his fingers
move in that production.

> It is easy to find fault with any singular teaching philosophy, no matter
> how successful the teacher, when taken out of context.

...which is why such teaching shouldn't be promulgated out of context.

> The times I have heard Mr. Morales play live I very much hear smooth
> fingers as part of the way he achieves his immense musical communication.

How do you hear 'smooth fingers'?

> Finally, being able to move ones fingers smoothly and choosing not to
> for reasonable musical reasons is very different than simply not being
> able to play smoothly.

The confusion of levels is here demonstrated in one sentence. 'Able to move
ones fingers smoothly' is not equivalent to 'able to play smoothly'. Other
considerations enter into the equation, as any expert player knows.

Tony
--

_________ Tony Pay
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... I don't steal taglines -- I replicate them.

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