 The Clarinet BBoard
|
Author: Ken Shaw ★2017
Date: 2004-09-01 21:27
In the most recent IDRS mag., there is a mention of "the Eastman Arpeggios," apparently written out by K. David Van Hoesen.
Does any Eastman grad. know what these are, or have a copy that could be scanned?
Thanks.
Ken Shaw
|
|
Reply To Message
|
|
Author: GBK
Date: 2004-09-02 21:44
Ken ...
I wrote to George Sakakeeny, Associate Professor of Bassoon at Oberlin and asked him about the "Eastman Arpeggios"
This was his response. Permission has been given to post:
"...The "Eastman arpeggios" as you call them that we students of Mr. Van Hoesen play are actually just a chord progression from the Violin method of Carl Flesch. Mr. VH found them to produce good results on the bassoon as well las the violin. I am sure the same progression is used by many different musicians. They were not written out. It goes like this:
minor I chord
major I chord
VI chord (relative minor)
IV chord
minor IV chord
fully diminished 7th chord
V 7 of V chord
end on IV
So in C major it would be always starting on a C
c minor
Cmajor
a minor
F major
f minor
fully diminished 7 (C Eb F# A)
C 7 (C E G Bb)
Resolving to the Last note F.
It is not anything special expect that practicing it everyday helps you to play in tune and legato..."
...GBK
|
|
Reply To Message
|
|
Author: diz
Date: 2004-09-02 22:03
Interesting that they call them Eastman arpeggios: rather audacious considering their (obvious) heritage. I know the Carl Flesch books (having ploughed through them on viola years ago). I can't see the reason for re-arranging them for winds ... apart from being a disciplined way of playing scales and arpeggios ... because the whole POINT of the Flesch method is his particular system of fingering - which is obviously totally useless to wind players.
Without music, the world would be grey, very grey.
|
|
Reply To Message
|
|
Author: Hank Lehrer
Date: 2004-09-02 22:30
Hi,
When I took sax lessons from Louie Marini Sr. at BGSU many, many moons ago, each lesson started with a series of memorized arpeggios; while not the same as the "Eastman" ones these exercises were really great for learning the instrument. IMHO, the exercises were not to teach the theoretical relationships but rather to help the player "get around the instrument in somewhat un-expected progressions."
Louie (if you are reading this), I still practice the chromatic 1 - 3 - 5 - 8 exercise on all woodwinds (going up C E G C, C# - going down G# E# C# going up D F# A D etc.). There are many modal variations and while these may be somewhat jazz-centered, they are terrific for learning facilty.
He gave us a sheet that had the pattern start and then you were on your own. I learned more in a semester of study with him than in several years study before.
HRL
PS May I humbly call them the Marini Arpeggios?
Post Edited (2004-09-02 23:48)
|
|
Reply To Message
|
|
Author: Douglas
Date: 2004-09-03 00:33
Seems to me where it says "V7 of V", C,E, G Bb, it should be analyzed as a V7 of IV and then, correctly, resolving to the IV chord (F).
|
|
Reply To Message
|
|
Author: D Dow
Date: 2004-09-03 01:32
Harold Wright always made me memorize the arpeggio study from book 3 of the Langenus study...it goes through the entire set of Major scales chromatically...then he had me do it in the corresponding minor...etc...
This became my warm up and is still very effective...
David Dow
|
|
Reply To Message
|
|
Author: Ralph G
Date: 2004-09-03 04:01
Hank,
Any relation to saxman "Blue Lou" Marini of "Blues Brothers" fame?
\sax dummy
________________
Artistic talent is a gift from God and whoever discovers it in himself has a certain obligation: to know that he cannot waste this talent, but must develop it.
- Pope John Paul II
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
