Klarinet Archive - Posting 000099.txt from 2008/01

From: "Forest Aten" <forestaten@-----.com>
Subj: RE: [kl] Re: legato, myths, creeds
Date: Mon, 07 Jan 2008 11:48:39 -0500


> -----Original Message-----
> From: Jonathan Cohler [mailto:cohler@-----.org]
> Sent: Monday, January 07, 2008 10:04 AM
> To: klarinet@-----.org
> Subject: [kl] Re: legato, myths, creeds
>
> In response to Margaret...
>
> But if we restrict our discussion to advanced players with solid
> embouchures and basically good air and fingers, and to the case of
> playing large skips or register breaks (change of harmonic), then
> there is absolutely no question that one MUST change the air pressure
> (support), the voicing and the embouchure position at the moment of
> the change if one wants to obtain an optimtal legato (defined as two
> notes of the same loudness and same tonal color--i.e. harmonic
> envelope).
>
> This is not an opinion, but rather a fact of physics, acoustics and
> how the clarinet works supported by reams of experiments,
> dissertations and books by experts in the field.
>
> --Jonathan
>

Jonathan,

Ah....someone finally arrived at some kind of definition of the word
"legato"...Yea!

I think it would helpful for everyone on the list, if a healthy discussion
of what "legato" is/means, (a huge can of worms) were to take place. (put
the "horse before the cart" now)

Air, shape of pipes (both human and machine) and the mechanics of finger
motion are all critical to producing a great legato. I think it's important
to understand what objective(s) we are shooting for in this discussion. It
is essential.

Jonathan, I know you implied it, but perhaps your definition of legato,
could reflect that to produce "legato", it involves the movement from one
note to another...? Connection?

I'm enjoying this. Have at it.

Forest

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