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Klarinet Archive - Posting 000353.txt from 2004/10

From: "dnleeson" <>
Subj: RE: [kl] Ideal clarinet tone
Date: Tue, 12 Oct 2004 14:37:05 -0400

Karl Krelove wrote:

"With no wish to get into the "dark/bright" argument that crops
periodically (stay calm, Dan), I wonder, because I don't know how
old you
are or whom you studied with, what generation you're referring
to. I don't
want to see a reprise of the whole argument, but your comment
made me wonder
(without wanting to criticize your having used the term) which
exemplified "dark" in the way you meant it."


I simply wish to point out that I have been a perfect gentleman
by staying out of this conversation despite the fact that I got
"agita" from reading it. I figure that if I bring up an opinion
about the ridiculousness of bright and dark sounds one more time,
someone will take out a contract on me.

So I decided to shut up and read about how it's the high partials
that do it or the absence of high partials or whatever it is that
creates this entirely invented fantasy in the minds of the
clarinet players, driving them crazy, or worse, into making
mouthpieces that allegedly satisfy this primal need.

But am I left alone for being a decent guy and keeping my mouth
shut? No.

Am I loved for my own true self? No.

Does appreciation grow for my profound perception? No.

Instead, Karl gives me a zinger for NOT getting involved. He
says, "Stay calm, Dan."

You can't win in this world.

I think I'll write another book that too damn many clarinetists
are not reading. And in it, the protagonist (who will be made
into a psychosexual murderer rapist killer sadist pizza eater who
happens to play clarinet with an impossibly absurd "bright"
sound) will be named Karl.

You have messed with the wrong guy Karl. The power of the pen
(or should I say the keyboard) is mightier than any alleged dark

Dan Leeson

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