 The Clarinet BBoard
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Author: Justin Willsey ★2017
Date: 2012-01-18 18:12
Hi all,
I was wondering about a couple of notes in Opperman's Daily Modern Studies, Book 1, study #1. It seems as though the last note of bar 29 should be another G flat, rather than an A natural. Also, perhaps the third note of bar 43 should be an E, rather than an F? These changes would be more consistent with each respective pattern; I would appreciate any thoughts or experiences on the matter. Thanks!
Justin Willsey
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Author: GBK
Date: 2012-01-18 19:07
I've never seen an errata list for the Opperman studies, but in both the cases you cite, the note suggestions/corrections seem logical and in keeping with the patterns.
Then again, these are only exercises so it probably doesn't matter either way, other than what your ear is expecting to hear.
...GBK
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Author: kdk
Date: 2012-01-18 19:33
GBK wrote:
> Then again, these are only exercises so it probably doesn't
> matter either way, other than what your ear is expecting to
> hear.
>
I'd second Glenn's reaction. I don't see why it would make a difference to anyone but you what note you play.
Karl
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Author: Justin Willsey ★2017
Date: 2012-01-18 19:40
Right, I don't plan on performing this one publicly anytime soon, but those "wait, what?" moments are a nuisance. Thanks again.
JW
Post Edited (2012-01-18 19:41)
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Author: Ken Shaw ★2017
Date: 2012-01-19 14:06
Kal's books were written to address particular technical issues, rather than to follow music theory. He often put in odd notes because they posed fingering problems. In particular, Intervalic Permutations is completely made up of unfamiliar patterns that make you feel like a beginner again. http://www.vcisinc.com/clarinetmusicstudies.htm item C072. By the way, Kal showed me a second book of Intervalic Permutations, even more difficult than the first. I think it's still in manuscript. He said that Harold Wright loved them because they gave him something really challenging.
Ken Shaw
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Author: Justin Willsey ★2017
Date: 2012-01-19 14:20
That's interesting Ken. Perhaps the second book became his Contemporary Chordal Sequences?
JW
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