Klarinet Archive - Posting 000066.txt from 2008/01

From: "Karl Krelove" <karlkrelove@-----.net>
Subj: RE: [kl] warm-cool/fast-slow
Date: Sat, 05 Jan 2008 20:24:33 -0500

I studied as a teenager and young adult with several excellent players (some
of whom were also good teachers). All but one had been taught either by
Bonade or by Anthony Gigliotti, who himself was a student of Bonade at
Curtis Institute (the one exception had been a student of Lucien Caillet).
Three, including Gigliotti, were members of the Philadelphia Orchestra. I've
played clarinet in the Philadelphia area at one time or another with all the
local players. To tell the truth, the only place *I've* ever heard the ideas
of either fast/slow or warm/cold air is Klarinet. So I'm not sure that this
idea is even so much an American concept as it is a part of the litany of a
particular teaching lineage whose originator happened to have taught here
rather than somewhere else. I think, incidentally, that I've read the terms
occasionally in articles by brass players. For what little it's worth, the
first I ever heard of the idea of arching the tongue to create a "faster"
airstream (to make producing high notes more reliable) was during one of my
son's trumpet lessons 10 or 11 years ago.

Karl

-----Original Message-----
From: Keith Bowen [mailto:bowenk@-----.com]
Sent: Saturday, January 05, 2008 4:46 PM
To: klarinet@-----.org
Subject: RE: [kl] more legato

>>I can't imagine a precise definition, one that doesn't depend on metaphor,

Lelia,

I think this (metaphor) is the precise problem in communication. I have
never met the airspeed stuff in European clarinet teaching; not to say it
doesn't exist in pedagogy here, but I have personally only ever come across
it in this list.

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