Author: Legend in my Spare Time
Date: 2012-07-04 22:27
-----Original Message-----
From: kevinchristie9 <kevinchristie9@aol.com>
To: nowhere <nowhere@woodwind.org>
Sent: Wed, Jul 4, 2012 3:09 pm
Subject: Re: Tonal quality [1:372370:373770]
Hi Ken............ Good to hear from you!!!!! Yeah, well, Walt Thalin referred to him as Bill and said everywhere he went he had that flask. Sorry my story was perhaps not placed in the correct section of the website. I was replying to another person's blog and appearantly the web designer has limited capabilities. How's your lip? Ha Ha. Clarinet is a mean motor scooter. I have seen quite a few world players with that rumpled chin underbite type of (lack of) embouchure. They seem to get along fine how they are. I know when I matured in my 20's - 40's, I no longer had that tight classic embouchure, didn't play a Buffet R13 anymore, and had several mouthpiece changes. To produce a beautiful tone is not relyant on those accepted beliefs. Goodman and Herman (and Thalin) played Selmer. For Fountain and many others, especially now, it's Leblanc. When I was young it "had to be" Buffet. I've known for years not to waste my money or that of ignorant students on the stuffy, resistant R13. Free-blowing is where it's at. I just heard the YouTube video of the much over-rated Stanley Drucker playing the Concertino (vWeber). He sounded like crap. I was a better clarinetist in every way in HIGH SCHOOL. Of course, I can't say that about most anybody else. I don't care for Martin Frost, either. Most of your world rated players are all technique which amounts to nothing more than the physical coordination involved. This says nothing musically. Eddie Daniels has fabulous technique, albeit, executed in a monotone sound without much phrasing or dynamic range. I've known a whole lot of players who have a "set-up" geared to just flail away on the keys without ever having to usurp or alter their set embouchure. This is akin to how we are taught classically on the clarinet to never use any vibrato. They just hold their mouth the same all the time no matter what. Like, what a joke. Dynamics can be manipulated in such a way as to create a pseudo-vibrato-like effect at about one fourth to one eighth the frequency of a true vibrato, to add a more lyrical sense to a phrase. However, I cannot accept or tolerate Martin Frost's use of a real vibrato in the Mozart A adagio movement. What poor taste he has. He is another pretender with a wheelbarrow full of technique. The truly great musicians are judged by their interpretation, where phrasing and dynamic range are the most important element, and that followed by a very close second, the beauty of their tone and tonal coloring. You can't have any tonal variation when you don't move your mouth. Drucker tries to add musical inflection by waving and bobbing his clarinet around which is most irritating to watch and indicates that he has no concept of microphone techniques. You can't move closer and further away to a mic. There is always that sweet spot. The phrasing and coloring is done with embouchure and diaphragmatic support control. You don't wave your clarinet around unless you play jazz, blues, or dixieland. That used to be the knock on Jaqueline Du Pre, bless her soul, was her physicallity during performances. Hey, there is a giant difference in attacking a cello to get the desired nuance or effect, compared to a clarinet. She was twice or even more the musician than YoYo Ma is. She had the greatest gifts. He constantly plays flat in the middle of his phrases and there's no life to his playing. I just don't understand - - his ratings must come from people unfamiliar with Du Pre, Julian LLoyd Weber and others. It is entirely about beauty. This comes from within................
I have mastered the Clarinet, Flute, the Saxophones and am quite a Lead Guitarist as well. I used to search and search for the secrets to Stevie Ray Vaughn's sound (tone). It comes down to this: To sound just like Stevie Ray you have to BE Stevie Ray. Bring it from within you. Also, check out Claudio Barile on Paganini's Moto Perpetuo. He never breathes throughout the piece. It's on YouTube. bye for now............kevin
-----Original Message-----
From: Ken Shaw <TheBBoard@woodwind.org>
Sent: Wed, Jul 4, 2012 4:26 am
Subject: Re: Tonal quality [1:372370:373770]
This message was sent from: The Clarinet BBoard.
http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=373770&t=372370
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Philadelphia Orchestra members have told me that Kincaid was a hopeless
alcoholic. He stayed sober through concerts, but more than made up for it
afterward and needed to have a companion with him to keep him from harm.
I heard the Philadelphia Orchestra around 1959, shortly before he retired.
His face was the crimson color you see in late-stage alcoholics.
Ken Shaw
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Post Edited (2012-07-04 22:38)
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