Klarinet Archive - Posting 000074.txt from 2008/01

From: "David Blumberg" <blummy@-----.net>
Subj: RE: [kl] warm-cool/fast-slow
Date: Sun, 06 Jan 2008 08:56:40 -0500

Karl, yup, the warm air/cool air wasn't Philadelphia style at all, but
playing with a big spread sound sure was!!! The tongue has to come into play
(arch) to not spread the sound, it's not just always about "open the
throat".
I've heard of the Air speed from several different player/teachers, but they
have also different views on it (opposing actually).
It can make a huge difference with tone color.

David Blumberg
www.mytempo.com

-------------------------------------------------------

"Karl Krelove" <karlkrelove@-----.net>
Subject: RE: [kl] warm-cool/fast-slow
Message-id: <000301c85002$e503b040$af0b10c0$@net>

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

------------------------------------------------------------------