Klarinet Archive - Posting 000013.txt from 2008/01

From: Mark Gustavson <mgustav@-----.com>
Subj: Re: [kl] Legato Finger Motion
Date: Wed, 02 Jan 2008 10:35:46 -0500

That's a wonderful and thoughtful presentation.

During my studies I worked with an advocate of this approach to legato
too. Later though I studied with another well-known clarinetist who
thought that for both legato and speed work the fingers should lie low
with minimal movement and in fact the pinkies touching the keys at
times. In addition, he taught that having the fingers low allowed the
player to vent for not only subtle pitch adjustments but for resonance,
especially G, G#, A above the staff. He believed that the finger
coordination needed for legato benefited by not having the fingers
travel more than needed and for speed work this is essential. He also
had a number of away from the clarinet finger exercises that developed
independent finger movement (being able to move each finger without any
movement from other fingers). Of course all of this needs to be also
coordinated with adjustments to the resistance each note requires. My 2
cents.

Mark Gustavson

On Jan 1, 2008, at 7:03 PM, Sean Osborn wrote:

> Dear Ken and everyone,
>
> I have studied legato fingers with Stanley Hasty, and complied a
> multi-media guide to mastering what he taught. Please look at my
> website page http://www.osbornmusic.com/legato.html where I have
> text, musical exercises, mp3 files (follow the links) and video to
> help you. Please realize that the sound on the video is rather harsh.
>
> Please let me know what you think, and if you found it helpful.
>
> Legato fingers are very important, and not minutia.
>
> Cheers,
>
> Sean Osborn, Soloist/Chamber Musician, and Metropolitan Opera
> Orchestra, retired
> www.osbornmusic.com
>
>
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>

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