 The Clarinet BBoard
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Author: clarinetwife
Date: 2005-02-27 01:49
We just got back from the ski hill where my husband, four lessons after never being on skis before, went down an early intermediate run with me, our six-year-old, and my dad. I am really proud and he is quite tickled.
You adult starters, do you have a moment you remember something just clicking and being fun, either a technic or a piece that you have always wanted to play that now you can? It just seems so motivating when this happens, especially for adults who tend to have more specific goals in mind when they take up musical study.
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Author: Don Berger
Date: 2005-02-27 19:10
To kick off a response, YES, when I worked out the fingerings to a bass cl solo, about 24 measures, I was happy/relieved and able to add some ad lib to it !! I still recall my great pleasure/excitement when I "discovered??" a technical/math/chem eng concept which led to my best [and several other's] polymerization-control patents. Had I known of the Archimedes, "EUREKA" story, I might have done likewise. He is "reputed" to have climbed out of his bath tub [Before Showers?] and shouting, running down the street, "EUREKA", sans clothing, having figured out why he could float. The Patent Office years ago had a "flash of genius" concept of invention. Thimk about it, HINT, its the same reason steel and concrete vessels float, not sink. Much Fun, Don
Thanx, Mark, Don
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Author: Ken Shaw ★2017
Date: 2005-02-28 14:40
I had to wait over a year for my "click of insight," but it was worth the wait.
As a beginner, I was OK on open G, but, particularly in the second register, I constantly fell behind, becasuse I had to look at a note, recognize it, think of the fingering and put my fingers down.
Then, one day, I looked at the G on top of the staff and recognized that you make it with everything on the left hand down. I said to myself, "From now on, I can go directly from seeing the note to putting my fingers down, skipping the steps in between. I'll never have to think about it again."
After a few minutes, I looked at top-line F and said "It's the same as G, but with my right index finger down." A few minutes after that, I had associated the F with its fingering, without going through G. I then realized that I could extend this for every note.
It took me about a week to get all the notes associated directly with their fingerings. It was a tremendous thrill.
A while later, I learned to read "between the notes" rather than "on the notes." That is, when I saw the same G and F, I didn't read both fingerings. I read only the G, and then associated the G-F interval with putting my right index finger down.
From that, I went on to associate groups of notes with groups of finger movements. G-F-E-D-C was not 5 notes, or even 1 note and 4 finger movements, but a single gesture, which I associated with the "shape" of those 5 notes.
That's why learning scales and arpeggios is important. It lets you read notes in bunches.
When I memorize a piece, it becomes a sequence of gestures. I hardly think about technique at all, but give all my attention to making music.
Ken Shaw
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