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Klarinet Archive - Posting 001054.txt from 1999/01

From: bachmus@-----.net (Mark McClain)
Subj: [kl] Re: klarinet Digest 20 Jan 1999 09:15:01 -0000 Issue 963
Date: Wed, 20 Jan 1999 09:31:12 -0500

klarinet-digest-help@-----.org wrote:

> klarinet Digest 20 Jan 1999 09:15:01 -0000 Issue 963
>
> Topics (messages 11336 through 11354):
>
> Fast reed-dampening techniques?
> 11336 by: "Ed Wojtowicz" <ewoj@-----.net>
> 11338 by: Vicki Coffman <coffman@-----.net>
> 11344 by: Bill Hausmann <bhausman@-----.com>
> 11345 by: "Mark Charette" <charette@-----.org>
>
> Stravinsky's "Le Sacre"
> 11337 by: "Joe Turpin" <ajturpin@-----.us>
> 11349 by: "Edwin V. Lacy" <el2@-----.edu>
>
> Fast Reed dampening techniques
> 11339 by: dgilbert <dgilbert@-----.com>
>
> The New York weather report, tweeting birds, and music
> 11340 by: "Mark Lynch" <mlynch@-----.net>
> 11350 by: "Peter Randell" <bardell@-----.ca>
>
> k581
> 11341 by: dhughes@-----.com (David Hughes)
> 11342 by: Markgr0806@-----.com
>
> leaving equipment on stand
> 11343 by: "David B. Niethamer" <dnietham@-----.edu>
>
> Klarinet to get a better connection
> 11346 by: "Mark Charette" <charette@-----.org>
>
> Kudos to Mark C.
> 11347 by: "J. Michael Norsworthy" <mnorswor@-----.edu>
> 11348 by: "Mark Charette" <charette@-----.org>
>
> Sorry!
> 11351 by: "Peter Randell" <bardell@-----.ca>
>
> Ridenour's Recommendations
> 11352 by: TOM RIDENOUR <klarinet@-----.net>
>
> Larry Comb's set up?
> 11353 by: "Jake Chan" <jakechan@-----.com>
>
> Leaving the horn out
> 11354 by: Roger Shilcock <roger.shilcock@-----.uk>
>
> Administrivia:
>
> To subscribe to the digest, e-mail:
> klarinet-digest-subscribe@-----.org
>
>
> To post to the list, e-mail:
> klarinet@-----.org
>
> klarinet List Owner - <klarinet-owner@-----.org>
>
> ----------------------------------------------------------------------
> Date: Tue, 19 Jan 1999 20:31:51 -0500
> To: klarinet@-----.org
> From: "Ed Wojtowicz" <ewoj@-----.net>
> Subject: Re: [kl] Fast reed-dampening techniques?
> Message-Id: <199901200132.UAA09453@-----.net>
>
> Find one of those old mouthpiece caps with one large hole on the top. Put a
> piece of sponge in the hole, so it just barely touches the tip of the reed.
> When leaving the instrument for any length of time, dip the sponge into
> water. This should keep the reed moist at all times.
>
> Ed
>
> >
> >>At gigs where sax is my main instrument, and clarinet the infrequent
> > double,
> >>I don't have time to take the clarinet reed off and soak it,
> >>
> >>.... and have had some squeaky starts.
> >>
> >>Saliva licked onto the reed while still on the mouthpiece isn't enough.
> >>
> >>I've thought about wrapping a damp cloth around the mouthpiece (
> >>turban-style)
> >>instead of a reedcap, but never tried it yet.
> >>
> >>Any suggestions on how to overcome the problem?
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 19:25:23 -0600
> To: klarinet@-----.org
> From: Vicki Coffman <coffman@-----.net>
> Subject: Re: [kl] Fast reed-dampening techniques?
> Message-ID: <36A53083.65A787B1@-----.net>
>
> > Saliva licked onto the reed while still on the mouthpiece isn't enough.
>
> True, true..... (Although if you spit a little *into* the
> mouthpiece onto the *inside* of the reed, it helps--Yes, I
> know: ick, ick....)
>
> > Any suggestions on how to overcome the problem?
>
> Sure! (Now don't anybody yell at me--but you didn't when I
> admitted I leave the reeds on all the time (well, I *do* take
> them off to clean the mouthpieces from time to time), so I guess
> I'm safe....?? :-> )
>
> Dip the reed and the mouthpiece, up to the ligature, in a glass
> of water, and hold it there a few seconds. Take it out and
> shake the water off. (And then keep the reed cap on when you're
> not playing.)
>
> Scotch works too.... ;-)
>
> Regards,
>
> Vicki
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 22:10:59 -0500
> To: klarinet@-----.org
> From: Bill Hausmann <bhausman@-----.com>
> Subject: Re: [kl] Fast reed-dampening techniques?
> Message-Id: <3.0.1.32.19990119221059.008ed7f8@-----.com>
>
> At 02:33 PM 1/19/99 -0800, Dave Florence wrote:
> >At gigs where sax is my main instrument, and clarinet the infrequent double,
> >I don't have time to take the clarinet reed off and soak it,
> >
> >.... and have had some squeaky starts.
> >
> >Saliva licked onto the reed while still on the mouthpiece isn't enough.
> >
> >I've thought about wrapping a damp cloth around the mouthpiece (
> >turban-style)
> >instead of a reedcap, but never tried it yet.
> >
> >Any suggestions on how to overcome the problem?
> >
> Synthetic reeds are perfect for this situation. I'd avoid the Bari, but
> Fibracells aren't bad. They don't need to be wet at all. I keep
> mouthpieces with Fibracells on them handy for demonstrations and testing
> after quicky repairs to instruments. They are available in multiple
> strengths, too.
>
> Bill Hausmann bhausman@-----.com
> 451 Old Orchard Drive http://www.concentric.net/~bhausman
> Essexville, MI 48732 http://members.wbs.net/homepages/z/o/o/zoot14.html
> ICQ UIN 4862265
>
> If you have to mic a saxophone, the rest of the band is too loud.
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 22:40:05 -0500
> To: <klarinet@-----.org>
> From: "Mark Charette" <charette@-----.org>
> Subject: Re: [kl] Fast reed-dampening techniques?
> Message-ID: <007801be4426$92dc26e0$0f35fed0=mtfuji>
>
> From: Bill Hausmann <bhausman@-----.com>
> >Synthetic reeds are perfect for this situation. I'd avoid the Bari,
> but
> >Fibracells aren't bad. They don't need to be wet at all. I keep
> >mouthpieces with Fibracells on them handy for demonstrations and
> testing
> >after quicky repairs to instruments. They are available in multiple
> >strengths, too.
>
> The new Legere' reeds might be worth a try, too. http://www.legere.com
>
> ----
> Mark Charette@-----.org
> Webmaster, http://www.sneezy.org/clarinet
> All-around good guy and devil-may-care flying fool.
> "There can be no freedom without discipline." - Nadia Boulanger
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 20:44:00 -0500
> To: <klarinet@-----.org>
> From: "Joe Turpin" <ajturpin@-----.us>
> Subject: Stravinsky's "Le Sacre"
> Message-ID: <020d01be4417$c14c6b20$432310ac=ajturpin>
>
> Hello again all,
>
> I loved the posts on this subject. Gave me a good chuckle as I remembered
> my early encounters with this excerpt; not realizing that the bassoon
> actually goes to a high e-flat at the theme's reappearance at rehearsal 12
> after being transposed up a half step!
>
> I don't think Stravinsky sought tenseness, from his extremely talented and
> well-rehearsed Paris musicians, in the difficulty of its playing, but rather
> the tonal quality of both the register and the French system basson's unique
> timbre. Though entering on an exposed high c may have been unique in the
> basson's orchestral literature at the time, it would not have posed any
> great difficulty to a professional French basson player. The basson's
> (stress on French) key system and playing characteristics are such that the
> high register is much more easily navigated than on a German system fagott
> and its lower octaves hard to start; though Maurice Allard's technique
> throws this excuse out the window.
>
> My point is that many of us, especially students of my generation (X), have
> only heard early recordings by German players or French players forced to
> play a Heckel. German bassoons of that era lacked the high d and e keys
> that players are afforded today. Thus, the harsher attacks (the incipient
> note) and pinched quality were do to the limitations of the German bassoon
> and so these performances are not necessarily "authentic." They do however
> bring a different interpretation and almost reorchestration that adds an
> unfinished quality that enhances the 'tense' feeling. Yes, the difference
> in tone is that different. In fact, there are quite a number of jokes that
> bassoonists circulate concerning the French Basson:-)
>
> I'm sorry I have rambled on, but I have done so with a smile and hope you
> read it with the same amount of levity. As they say in the House, I yield
> to the gentlemen Mr. Pay and Mr. Blumberg from cyberspace:-)
>
> Joe Turpin
> Fagottist
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 22:18:40 -0600 (CST)
> To: klarinet@-----.org
> From: "Edwin V. Lacy" <el2@-----.edu>
> Subject: Re: [kl] Stravinsky's "Le Sacre"
> Message-ID: <Pine.A41.4.05.9901192215370.46734-100000@-----.edu>
>
> On Tue, 19 Jan 1999, Joe Turpin wrote:
>
> > I loved the posts on this subject. Gave me a good chuckle as I
> > remembered my early encounters with this excerpt; not realizing that
> > the bassoon actually goes to a high e-flat at the theme's reappearance
> > at rehearsal 12 after being transposed up a half step!
>
> All that you said about the limitations of the German bassoon in the early
> 20th century and the relatively greater flexibility of the French bassoon
> in the high register was exactly on target. However, one small point...
>
> At rehearsal 12 in the "Rite," the theme which the bassoon stated at the
> beginning returns, but this time a half step *lower*, so that the opening
> note is Cb rather than C, and the highest note is Db as opposed to the D
> of the opening solo.
>
> I hope we are talking about the same spot.
>
> Ed Lacy
> el2@-----.edu
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 21:00:30 -0500
> To: klarinet@-----.org
> From: dgilbert <dgilbert@-----.com>
> Subject: Re:Fast Reed dampening techniques
> Message-ID: <36A538BF.6ECE@-----.com>
>
> Cut a small piece of ordinary houshold sponge to fit in the mpc cap.
> Make this a snug fit in the cap, so it will stay in place.
>
> Wet the sponge and leave quite damp.. place the cap on mpc gently so as
> not to damage reed.. Horns will remain ready to play for for a long
> time.
>
> I use this all the time on my working triple...Bari sax, soprano sax,
> and clarinet... Works like a charm.
>
> Dave G.
>
> PS don't forget to remove the sponge and squeeze dry when you
> pack..leave the almost dry sponge in case if you need humidity, or in
> gig bag if you don't.
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 20:53:53 -0500
> To: <klarinet@-----.org>
> From: "Mark Lynch" <mlynch@-----.net>
> Subject: Re: [kl] The New York weather report, tweeting birds, and music
> Message-ID: <00c801be4418$11683b20$3943e0c7=epix>
>
> -
>
> >I'd just like to know how you remove the little piece of silver tape that
> >invariably is on every CD? You can't do that with your teeth. ;-o
> >
>
> Get a small can of WD-40. The stuff is great for getting all residual goo
> off CD jewel boxes. Spray it on for 30 seconds or so and rub with a paper
> towel. You may half to do it a couple of times.
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 23:28:38 -0500
> To: <klarinet@-----.org>
> From: "Peter Randell" <bardell@-----.ca>
> Subject: Re: [kl] The New York weather report, tweeting birds, and music
> Message-Id: <199901200432.XAA10627@-----.ca>
>
> ----------
> > From: Joe M. Rankin <jmrankin@-----.com>
> > To: klarinet@-----.org
> > Subject: Re: [kl] The New York weather report, tweeting birds, and music
> > Date: Tuesday, January 19, 1999 4:52 PM
> >
> >
> >
> > CmdrHerel@-----.com wrote:
> >
> > > In a message dated 1/19/99 11:27:49 AM Eastern Standard Time,
> > > nebuckman@-----.us writes:
> > >
> > > << I'd just like to know how you remove the little piece of silver tape
> that
> > > invariably is on every CD? You can't do that with your teeth. ;-o >>
> > >
> > > It takes forEVER! I work it with my middle finger fingernail while
> holding
> > > the CD with my other fingers of the same hand. :)
> > >
> > > Teri Herel
> > >
> >
> > Teri,
> >
> > Removing the stubborn tape is very easy!. Take the CD out of the case
> then take
> > the case apart where it hinges. The tape will peal right off in one
> piece.
> > There's nothing to it once you do it a couple of times.
> >
> > Joe Rankin
> >
> > >
> -------------------------------------------------------------------------
> >
> Hi Joe:-
>
> How did the rotator cuff surgery heal?
>
> How's the Howarth "A" working out? Does it match the Bb? It
> should be just about broken-in by now.
>
> Have you and Jim Sclater had the chance to read through the
> Dahl Duet's I shipped to you?
>
> Regard's
> Peter Randell.
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 20:59:12 -0500
> To: klarinet@-----.org
> From: dhughes@-----.com (David Hughes)
> Subject: Re: [kl]k581
> Message-Id: <3.0.5.32.19990119205912.0083c2a0@-----.com>
>
> Yes it is, although there is (or was) a piano reduction (Cundy-Bettoney
> Co.) transposed up a half step to allow a Bb clarinet to play the A part.
> This would help students and others who have no A clarinet to enjoy playing
> through the work (no doubt to the displeasure of both purists and those of
> us who are cursed with perfect pitch).
>
> I remember enjoying playing the slow movement on my Bb clarinet along with
> a student pianist in high school.
>
> (At 07:16 PM 1/19/1999 -0500, you wrote:
> >Just a simple question, is the Mozart Clarinet Quintet usually played
> >with an A clarinet?
> >
> >-Victor
> >
> >
> >-------------------------------------------------------------------------
> >Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> >Subscribe to the Digest: klarinet-digest-subscribe@-----.org
> >Additional commands: klarinet-help@-----.org
> >Other problems: klarinet-owner@-----.org
> >
> >
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 21:53:25 EST
> To: klarinet@-----.org
> From: Markgr0806@-----.com
> Subject: Re: [kl]k581
> Message-ID: <86d91407.36a54525@-----.com>
>
> Yes, the clarinet quintet KV 581 is scored in A Major for string quartet and
> clarinet in A.
>
> Mark
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 22:15:46 -0500
> To: <klarinet@-----.org>
> From: "David B. Niethamer" <dnietham@-----.edu>
> Subject: Re: [kl] leaving equipment on stand
> Message-Id: <199901200312.WAA26229@-----.edu>
>
> on 1/19/99 12:29 AM, David Renaud wrote:
>
> >I find if I leave my clarinets together too many days, the tendon
> >corks don't have time to recover and end up over compressed, even
> >if playing it lots of hours, leaving the joints a little loose.
> > Over Christmas I experienced this, leaving it together allot,
> >and just putting it away, overnight improved the tightness of the fit.
> >
> >???Question???
> > It has been suggested to me that if tendons became too loose,
> >clear nail polish can be applied to the inner rim of the tendon
> >to improve the cork fit. New cork may ideal, but does anyone
> >take offense at such application of clear nail polish??
>
> I'd just put orange peels in the case. I slice mine to fit over the corks
> of the various joints (call me compulsive!) and leave them there, which
> keeps the corks expanded. Makes the case smell a bit nicer, too. I'd
> hesitate to put nail polish on the wood, but I don't know a good
> scientific reason why.
>
> David
>
> David Niethamer
> Principal Clarinet, Richmond Symphony
> dnietham@-----.edu
> http://members.aol.com/dbnclar1/
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 22:47:42 -0500
> To: "klarinet" <klarinet@-----.org>
> From: "Mark Charette" <charette@-----.org>
> Subject: Klarinet to get a better connection
> Message-ID: <007c01be4427$a2f2ff80$0f35fed0=mtfuji>
>
> The sneezy.org machine that runs Klarinet (the new machine many of you
> generously donated money towards) will be moving to a new location in
> the next week or so. The connection to the Internet will be about 25
> times faster than the present connection.
>
> However, that does mean an interruption in service. The machine will be
> moving about 20 miles, and will have new IP addresses - but the name
> will remain the same, so no one has to change anything. The mailing list
> will be down during the move time, and it may not respond correctly for
> up to 24 hours after the move because of new routing. You'll _get_ the
> mail fine, but you may not be able to post right away (your mail may get
> rejected because of something known as "dns name caching").
>
> I'll let everyone know more specifics as the moving time grows closer.
>
> Cheers,
> ----
> Mark Charette@-----.org
> Webmaster, http://www.sneezy.org/clarinet
> All-around good guy and devil-may-care flying fool.
> "There can be no freedom without discipline." - Nadia Boulanger
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 21:59:41 -0600
> To: "'klarinet'" <klarinet@-----.org>
> From: "J. Michael Norsworthy" <mnorswor@-----.edu>
> Subject: Kudos to Mark C.
> Message-ID: <01BE43F7.069ABD60.mnorswor@-----.edu>
>
> Kudos to you on the new interface to the bulletin board on Sneezy Mark.
> Like it a lot :)
>
> All the best,
> Michael Norsworthy
> email: mnorswor@-----.edu
> internet: http://www.msu.edu/~norswort
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 23:01:56 -0500
> To: <klarinet@-----.org>
> From: "Mark Charette" <charette@-----.org>
> Subject: Re: [kl] Kudos to Mark C.
> Message-ID: <009401be4429$a03183a0$0f35fed0=mtfuji>
>
> From: J. Michael Norsworthy <mnorswor@-----.edu>
> >Kudos to you on the new interface to the bulletin board on Sneezy Mark.
> > Like it a lot :)
>
> It's been stirring up a bit of controversy, though :^) One person signed
> off because they hate the new look. There'll be more enhancements coming
> over the next couple of months - each person will be able to customize
> it they way they'd like to and it'll indicate to you the posts you
> haven't read yet.
>
> I know _how_ to do it - it's getting the time to implement & test.
>
> But you already knew _that_ part :^)
>
> Cheers,
> ----
> Mark Charette@-----.org
> Webmaster, http://www.sneezy.org/clarinet
> All-around good guy and devil-may-care flying fool.
> "There can be no freedom without discipline." - Nadia Boulanger
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 23:41:46 -0500
> To: <klarinet@-----.org>
> From: "Peter Randell" <bardell@-----.ca>
> Subject: Sorry!
> Message-Id: <199901200445.XAA16178@-----.ca>
>
> The posting sent to J M Rankin a few minutes ago,
> should have gone direct, and not through the list.
> SAT!. [Sorry About That!]
>
> Peter Randell.Toronto
>
> ------------------------------
>
> Date: Wed, 20 Jan 1999 00:45:20 -0500
> To: klarinet@-----.org
> From: TOM RIDENOUR <klarinet@-----.net>
> Subject: Re: [kl]Ridenour's Recommendations
> Message-Id: <l03110704b2cb1bc803db@-----.89]>
>
> >Tom,
> >
> >You mentioned the Buffet RC (Bb) and the Festival (Bb). What do those go
> >for at Brook Meyers? Do you also select those? Do any of the Buffet models
> >have silver keys?
> >
> >The reason I ask is that I have two students who will be attending Louisiana
> >State University next year. The clarinet teacher there, (Steve Cohen), has
> >told them that the only instrument that would be acceptable is the R-13 or
> >the Opus. I do, however, think he would accept the RC or the Festival.
> >
> >I haven't had a chance to do it yet, but I plan to call him and ask him if
> >he's tried the Selmer "Signature" yet. That attitude really bothers me!
> >
> >Thanks in advance,
> >Carl Schexnayder
> >
> Carl,
> I will be glad to answer you privately about clarinet prices; I really
> don't know the rules for the list, and though I have seen other retailers
> put posts of open advertising here I am reluctant to do so.
> When I was at Leblanc I spent a week with Steve, his family and gave a
> sustained period of time to his master class at LSU. He is a terrific
> player, teacher and I enjoyed his company immensely.
> I don't think he would have any objections to the Festival or the RC,
> though the Festival has a tonal character that is nearer the R-13, without
> the inherent defect in the register tube position which results,
> unavoidably, in a spread of the F-C, E-B tuning ratios; something, as I
> said, which Lee Gibson wrote about repeatedly over the years.
> The Festival comes in silver keys with an Ab/Eb key as well.
> I do hand select them and do detailed work on them.
> As for the Signature, I don't know what Steve's response would be, but I
> know several players here at UNT in Denton have looked into them and one of
> the top grad students just traded his old instrument (which will remain
> unmentioned;-) ) for a new Signature, which he sounds great on and loves.
> As for prices and various services, write me on rclarinet@-----.com and I
> will be happy to explain about things in detail, or call me 10 to 6 CST at
> 1- 972-221-9054.
> Thanks,
> tom
>
> ------------------------------
>
> Date: Tue, 19 Jan 1999 22:57:21 PST
> To: klarinet@-----.org
> From: "Jake Chan" <jakechan@-----.com>
> Subject: Larry Comb's set up?
> Message-ID: <19990120065721.7878.qmail@-----.com>
>
> What is Larry Comb's mouthpiece and ligature setup?
> How about Eddie Daniel?
>
> Get Your Private, Free Email at http://www.hotmail.com
>
> ------------------------------
>
> Date: Wed, 20 Jan 1999 08:55:05 +0000 (GMT)
> To: klarinet@-----.org
> From: Roger Shilcock <roger.shilcock@-----.uk>
> Subject: Re: [kl] Leaving the horn out
> Message-ID: <Pine.OSF.3.95.990120085327.16564B-100000@-----.uk>
>
> Een if you swab every time, the cork is going to be *wet* after a
> reasonably long session, and it then swells up. This can make your joints
> seize up. I know about
> this - it
> happened to the bell on my B flat.
> Roger Shilcock
>
> On 19 Jan 1999 charette@-----.org wrote:
>
> > Date: 19 Jan 1999 20:21:16 -0000
> > From: charette@-----.org
> > Reply-To: klarinet@-----.org
> > To: klarinet@-----.org
> > Subject: Re: [kl] Leaving the horn out
> >
> > Teri said:
> > >It's just bad to leave the clarinet out and assembled.
> >
> > Teri,
> > Why, besides the corks getting compressed? Mine's not out long enough top
> > gather dust, and I regularly swab it (including a total disassembly/
> > reassembly.
> >
> > I can't figure out why it would be especially a "bad" thing to do, I
> > leave my piano assembled, my guitar and bas (back when I played those)
> > assembled, etc.
> >
> > I'd really like to know - the question isn't rhetorical. Being knocked
> > over isn't any problem where I keep it (noi more problem, anyway,
> > than me dropping it while assembling it).
> >
> > Cheers,
> > Mark Charette@-----.org
> >
> > -------------------------------------------------------------------------
> > Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> > Subscribe to the Digest: klarinet-digest-subscribe@-----.org
> > Additional commands: klarinet-help@-----.org
> > Other problems: klarinet-owner@-----.org
> >
> >
>
> ------------------------------
>
> End of klarinet Digest
> ***********************************

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