Klarinet Archive - Posting 000138.txt from 2011/03

From: Arthur Acheson <arthur.acheson@-----.com>
Subj: Re: [kl] standing, sitting
Date: Fri, 18 Mar 2011 16:59:43 -0400

Margaret,
I agree totally on your comments on the standing v's seated choice.
There are two main elements affected by the decision to stand or sit,
they are the physical response/ involvement one has with the music
and the efficiency of the breathing mechanism. Both are improved by
playing in a standing and balanced position and I insist all my
elementary students play this way, however, since almost all our
playing will eventually be done in a seated position it is important
to try to carry the advantages of playing standing up over to the
seated position. Most tutor books are full of instructions on the
correct use of the rib cage and diaphragm and these instructions are
more easily followed while standing but they can then be applied to
the sitting position.
To transfer the rhythmic advantages of the standing position to the
seated is much more difficult but I think any position which inhibits
a spontaneous physical response to the music should be avoided. Some
of the recent posts on this subject will I fear do just that.
Arthur Acheson

On 17 Mar 2011, at 16:43, Margaret Thornhill wrote:

Kathy,

Recently I've taken a few years of Alexander Technique lessons in
order to
see how this powerful tool helps clarinet performance. I've organised
masterclasses for clarinetists with the same teacher and what I've
seen and
heard as "before and after" with them is nothing short of miraculous
sounding. What I've found out is: most players (even professionals)
habitually sit with bad "use" of their bodies, shoulders tight, head
tilted
down, back hunched. (This is reinforced, btw, by having our stands lower
than our eyes, so we are looking down towards the floor, and by
uncomfortable chairs offering poor support.) All this affects
breathing, for
many, a slight repositioning done by the teacher opens up the sound and
breathing resulting in freer, more comfortable playing. I go on record
saying that these lessons have been the most important thing I've
done for
my playing since stopping formal lessons a few decades ago. So to tie
this
to questions about sitting vs. standing: it seems that several of these
stressed posture issues disappear --for everyone--when standing.

You are a very accomplished player with a nice tone and the main
difference
(other than the difference room sound) that I hear in the openings of
your
two Brahms Sonatas is that your body is free and moving (in a helpful
way)
with the music when standing. If you shut your eyes and listen to
opening
phrases of the first movement on each track, it is a giant difference
in how
musically you are playing, in favor of your playing while standing.

Best wishes, and feel free to email me off list if you want to
continue this
conversation.

Margaret Thornhill
Los Angeles
http://www.margaretthornhill.com

_______________________________________________
Klarinet mailing list
Klarinet@-----.com
To do darn near anything to your subscription, go to:
http://klarinet-list.serve-music.com

_______________________________________________
Klarinet mailing list
Klarinet@-----.com
To do darn near anything to your subscription, go to:
http://klarinet-list.serve-music.com