Klarinet Archive - Posting 000103.txt from 2009/03
From: Ken Oefelein <ko@-----.com>
Subj: [kl] klarinet Digest 15 Mar 2009 09:01:01 -0000 Issue 8257
Date: Thu, 19 Mar 2009 21:19:51 -0400
klarinet Digest 15 Mar 2009 09:01:01 -0000 Issue 8257
Topics (messages 95874 through 95879):
Tunes or themes that correspond to metronome markings
95874 by: Ed Lowry
95877 by: Gary/Jan Truesdail
Re: help identifying a 6 key clarinet
95875 by: Martin Baxter
95878 by: cealleach.earthlink.net
Re: Kalman Bloch
95876 by: Margaret Thornhill
Getting lost during rehearsal
95879 by: Gary/Jan Truesdail
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Date: Sat, 14 Mar 2009 14:44:48 -0700 (PDT)
To: klarinet@-----.org
From: Ed Lowry <edwinlowry@-----.net>
Subject: Tunes or themes that correspond to metronome markings
Message-ID: <474152.16899.qm@-----.com>
I understand that some people are able to set tempos (e.g. quarter
note = 144) by humming well-known themes or tunes. I hoped a quick
google search would lead to a chart, but I didn't find one. Anyone
have some favorites?
Ed Lowry
------------------------------
Date: Sat, 14 Mar 2009 17:47:22 -0700
To: <klarinet@-----.org>
From: "Gary/Jan Truesdail" <gir@-----.net>
Subject: RE: [kl] Tunes or themes that correspond to metronome markings
Message-ID: <000901c9a507$9bab51e0$d301f5a0$@net>
For me 120=Stars and Stripes
Gary Truesdail
-----Original Message-----
From: Ed Lowry [mailto:edwinlowry@-----.net]
Sent: Saturday, March 14, 2009 2:45 PM
To: klarinet@-----.org
Subject: [kl] Tunes or themes that correspond to metronome markings
I understand that some people are able to set tempos (e.g. quarter
note =
144) by humming well-known themes or tunes. I hoped a quick google
search
would lead to a chart, but I didn't find one. Anyone have some
favorites?
Ed Lowry
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The 2009 Woodwind.Org Donation Drive is going on right now - see
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Date: Sat, 14 Mar 2009 22:15:28 +0000
To: klarinet@-----.org
From: Martin Baxter <martinbaxter@-----.net>
Cc: Martin Baxter <martinbaxter@-----.net>
Subject: Re: [kl] help identifying a 6 key clarinet
Message-Id: <511160C3-578E-48BD-8932-8C4975832B45@-----.net>
How much shorter? Could it be a high pitch Bb or even a B natural
(rare but used by Mozart). If the keys are square, flat and in one
piece I would suggest that a mid-eighteenth century date seems
likely; if the rings rings are definitely ivory it is less likely to
be a modern reproduction.
Are you sure there are no markings on it. Try a spotlight at various
angles as sometimes makers marks are there but are not easily
distinguishable. Finally you can download pictures from various
collections for comparison purposes. If you can find either a name or
a mark the Langwill guides "Lyndsay's Lists" will help you.
Martin
On 14 Mar 2009, at 19:56, oxleybu@-----.com wrote:
> Can anyone help me identify a 6 key clarinet with no markings at
> all?? It
> appears to be boxwood with ivory rings, square brass key pads,
> metal mouthpiece,
> is shorter than my Bb, so I assume key of C.? I was told that it
> was brought to
> the US from Norway shortly after 1900.
>
> I can send photos.? My email address is oxleybu@-----.
>
> Thanks,
>
> Terry
>
> ------------------------------------------------------------------
> The 2009 Woodwind.Org Donation Drive is going on right now - see
> https://secure.donax-us.com/donation/ for more information.
> ------------------------------------------------------------------
>
------------------------------
Date: Sat, 14 Mar 2009 20:58:32 -0600 (GMT-06:00)
To: klarinet@-----.org
From: cealleach@-----.net
Subject: Re: [kl] help identifying a 6 key clarinet
Message-ID: <29722507.1237085912998.JavaMail.root@-----.net
>
Hi Terry,
Your coming to the Klarinet list is a good way to find people who can
help you begin to understand your clarinet. It would be helpful to
know more specifics about your instrument such as the total length
from bell to barrel and an average bore diameter (I found this helpful
in determining the pitch of a high pith Bb clarinet that I have that
is of the same total length as a Bb clarinet pitched in A=440).
Pictures of the instrument and the key work would also be helpful in
helping you better understand your instrument.
- Kelly W.
-----Original Message-----
> From: oxleybu@-----.com
> Sent: Mar 14, 2009 1:56 PM
> To: klarinet@-----.org
> Subject: [kl] help identifying a 6 key clarinet
>
> Can anyone help me identify a 6 key clarinet with no markings at all??
> It appears to be boxwood with ivory rings, square brass key pads,
> metal
> mouthpiece, is shorter than my Bb, so I assume key of C.? I was told
> that it was
> brought to the US from Norway shortly after 1900.
>
> I can send photos.? My email address is oxleybu@-----.
>
> Thanks,
>
> Terry
>
> ------------------------------------------------------------------
> The 2009 Woodwind.Org Donation Drive is going on right now - see
> https://secure.donax-us.com/donation/ for more information.
> ------------------------------------------------------------------
>
------------------------------
Date: Sat, 14 Mar 2009 17:36:04 -0700
To: klarinet@-----.org
From: Margaret Thornhill <clarinetstudio@-----.com>
Subject: Re: Kalman Bloch
Message-ID: <49BC4D74.7090901@-----.com>
A wonderful clarinetist and a fine human being.
He will be missed. My condolences to you, Jim, and others of his
students, and especially to Michele.
Margaret Thornhill
------------------------------
Date: Sat, 14 Mar 2009 23:47:42 -0700
To: <klarinet@-----.org>
From: "Gary/Jan Truesdail" <gir@-----.net>
Subject: Getting lost during rehearsal
Message-ID: <002f01c9a539$f22304f0$d6690ed0$@net>
Hoping someone could help out here.
I am now a director of a community band and was presented with the email
below.
I have already responded, but It required quite a bit of thought - how
to
explain this matter to amateurs - and was hoping someone could give me
better answers.
I have never been presented with this problem in just this way before.
Gary Truesdail
This was the email:
Hi, Gary,
I was wondering if maybe you would address the issue to the band about
getting lost.
Personally, I have the good sense and musicality to know when I am
lost and
I stop playing!! (I'm certainly not the only one). Of course I keep my
eyes on the music and do my best to try to find where we are.
However, (someone) tells me that (someone) frequently gets lost (his
counting is very weak) and has no clue and apparently does not give a
darn
and just keeps playing. I noticed on Wed. that (I think it was during
Jubilus) where the counting is a little bit tricky, (someone else) got
off
but just kept playing. Then this threw me off (I shouldn't be
listening)
because of course I doubted myself (I ain't so perfect) and then it
was all
over for me (but at least I quit playing :^).
After rehearsal (someone else) said to me that he got lost and I
thought "So
why did you keep playing when you knew you were in the wrong place?"
Anyway, I was wondering if there was some good advice you could give
to us
this week.
Thanks,
My original response was:
Good awareness, Mary. As you said, "Some people don't notice or know
when
they are lost"
However, I always address the issue unless there is a more important
immediate objective we are working on. I always try to allow the
immediate
objective to be accomplished before addressing a secondary problem. One
thing at a time.
1. The ability to recognize when someone else is lost is important as
they
can help the lost person get back on track. This is why bari sax and
bass
clarinet are together, 1st clarinet and 1st flute are near each other,
1st
trumpet and 1st alto are near each other, Trombones and Euph and horns
are
near each other.
2. The ability to recover from getting lost does not come from the
conductor always stopping to correct it. I stop for this problem if
several
people are lost and it produces a situation that is unrecoverable. At
that
point, to let it go on is counterproductive to the development of a
band.
The reason for being lost can come from several places: A. following
some
else that is lost, B. bad conductor cue, C. a player being so
engrossed in
the page that he/she does not notice they are lost or the conductor
beat, D.
an entire sections gets lost together because someone in the section
gives a
"movement cue" that indicates "now is the time to play" after a rest and
everyone in the section is listening to each other for other purposes
and
are not aware that they are lost or came in late or early.
Generally it is helpful, for developmental purposes, to allow a player
to
try to recover. This is the one of the objectives of sight reading.
There is
a limit in how far into the rehearsal sequence that this can be
allowed as
it can throw some other insecure players off the track. A strong player
knows when to abandon listening to the lost player and continue playing
correctly with another aural source, or maybe the conductor. (Maybe,
if the
wrong player is listening, he/she will recover). Realizing when you
are lost
and listening for cues for a recovery is an important skill to learn.
If two mountain climbers are going up a cliff and the guy at the
bottom of
the rope slips and lets go the person at the top does not
automatically give
up. Same in music.
3. Players of like instruments that are not sitting together are not
helping each other in times of insecurity (or getting lost, weather it
is
their fault or not), nor can they create a collective balance for their
section. We currently have that situation on the Euphonium section.
I sure
wish you guys would sit together.
4. Not getting lost is dependent upon several things; 1. Counting rests
correctly, 2. Experience, and not being drawn in to follow another wrong
person. (Playing the part correctly is far better than to stop playing).
Gary
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End of klarinet Digest
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