Klarinet Archive - Posting 000067.txt from 2008/01

From: Adam Michlin <amichlin@-----.com>
Subj: Re: [kl] warm-cool/fast-slow
Date: Sat, 05 Jan 2008 20:47:08 -0500

At least one source for the concept of warm/cold air came out of Joe
Allard's pedagogy, which quite possibly could have come out of brass
pedagogy since Joe was well known to pick the brain of everyone he
could. It certainly didn't come from Daniel Bonade, my understanding is
that he rarely, if ever, delved into the subject of breathing or air.

-Adam

Karl Krelove wrote:
> 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.
>
>

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