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Klarinet Archive - Posting 000115.txt from 2005/05

From: "pwHarris1" <>
Subj: Re: [kl] Rubank Method: not all by Voxman
Date: Fri, 06 May 2005 12:32:20 -0400

While they may seem dated to you, the information that is contained in them
is still very relevant today. One of the major problems that young players
have is the absolute ignorance of how to ornament. Where to apply when it
is not indicated and how to perform when it is. Ornamenting is becoming a
lost art, at least among younger players.
Remember, much of the literature that your young player will perform comes
from earlier periods of music when ornamenting was considered part of the
performance and is also used today in many of the modern works. The whole
idiom of Jazz is about creating ornamented lines about a melody.
I feel that it is never to early to start teaching how to ornament. It is
fun for the students and they begin to learn the rules involved. Every
period has different rules for how to ornament properly including how to
play today's Jazz idiom.
Yes, these book were written in the 30's. Many of the great study books
come from earlier times. The Barmen, Klose, Langenus and etc. The clarinet
although much improved in terms of intonation and sound today is basically
the same instrument that was in use in these earlier periods of time.
Paul Harris

----- Original Message -----
From: "Margaret Thornhill" <>
To: <>
Sent: Friday, May 06, 2005 10:37 AM
Subject: [kl] Rubank Method: not all by Voxman

> Adam wrote:
>>> The Rubank methods, in my opinion, go much too fast for a rank musical
>>> beginner.
> Yes, for woodwind-specific reasons that are solved in part by books like
> Galper's and mine, such as developing a fine legato in the chalumeau
> before moving up.
> Chuck wrote:
>> If it goes too fast perhaps one should slow down and thoroughly learn
>> each
>> line. Mr. Voxman knew exactly what he was writing in the 30's. >
> Fond memories aside, the Rubank books I have in my library (NEW) are still
> edited by:
> (Beginning) Nilo Hovey and (Intermediate--1936) J.E. Skornicka and Robert
> Miller.
> It is the advanced books that were edited by H. Voxman.
> The first two books are in desperate need of revision.
> Some small examples of why:
> Virtually all the melodic material in the Intermediate book is in the form
> of duets. The worst are by Skornicka. Others are by the violinist, Mazas
> (source of many of the Rose Etudes) including one actually called "Danse
> Negre."
> In a book with fewer than 50 pages, at least five are devoted to trills
> and grace notes, the darlings of the 19th century.(Klose also puts a
> disproportionate, by modern standards, emphasis on ornamentation.) How
> often does a 7th grade player ever hear a "triple grace note" (read that,
> "turn") let alone need to have one ready to improvise?
> There are useful technical studies in a variety of keys. There is an
> emphasis on developing staccato and velocity, which the player may or may
> not be ready for.
> If an intermediate student already has this, I let him use the scale
> studies and fingering chart and cut to the chase by giving him other
> things like the wonderful 60 Rambles (which sadly, are also starting to
> seem a little dated) the Hite books, the Eric Simon pieces, Voxman's own
> duets (which are fine) and as much melodic material of all types as he is
> willing to buy. A good one that came to me recently is the Australian,
> Mark Walton's "66 Great Tunes."
> Margaret Thornhill
> -------------------------------------------------------------------
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