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Klarinet Archive - Posting 000800.txt from 2000/07

From: Andrea Bergamin <a.bergamin@-----.it>
Subj: Re: [kl] Carbonare's Selmer
Date: Sun, 23 Jul 2000 06:32:20 -0400

I know well Alessandro's Recital, because we have the same repair-man and I
know some secret.

For example... he has chosen different kind of pads for each register, as I
do. He has sax pads (with metal resonator, like Elite) on the lower register
and leather ones in the throat.

---

I've some recording of USA school bands and I'm impressed with your
intonation. Perhaps you have a different approach.

For teachers... is there some exercise you use from the basic level?
Do you adopt the tuner from the beginning?

> Da: "Antoine T. Clark" <clariguy@-----.net>
> Organizzazione: Prodigy Internet
> Risposta: klarinet@-----.org
> Data: Sun, 23 Jul 2000 03:17:04 -0400
> A: <klarinet@-----.org>
> Oggetto: [kl] Carbonare's Selmer
>
> Ok this is just a question because I am genuinely curious. And maybe the
> "DIEHARD" Buffet lovers out there can answer this? When listening to
> Alessandro Carbonare 's recordings of the Brahms/Mozart quintets, I noticed a
> lot of intonation problems when he entered into soft passages and when he went
> really high into the altissimo register. Could this be anything to do with the
> "make" of his clarinet Selmer, or could this just be simple problems that we
> all have no matter what the clarinet and playing with other instrument
> families. We all know we come in sharp when soft and we get flat when we get
> loud. I am not trying to suggest that Selmers don't play in tune but I have
> heard that all clarinets lines such as Buffet, Yamaha, Leblanc, and Selmer,
> have there troubling characteristics. Anyone with this CD could answer this if
> they have heard it. Just a thought!! Thanks.
>

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