Author: Paul Aviles
Date: 2020-09-19 03:04
Speaking for myself, if trying to compress a trial into as little time as possible, I lean on the loud side. My rationale is that you can always play softer (that's easy) but your top end is represents the limit of your dynamic palette. It's just down and dirty that way.
I have a "loud" story though that may (or may not) be interesting. In my youth (while still in high school) I equated loudness with shear physicality and thus had gone to open mouthpieces and hard reeds. While still a high school student we had an alumni orchestral event that brought in the principal clarinet of the Detroit Symphony at that time, Mr. Paul Schaller. For those not acquainted with Schaller, he was of the same era and ilk of Robert Marcellus, Clark Brody and Anthony Gigliotti. I sat next to him and played second part to his first for a for a performance of Tchaikovsky's Capriccio Italian. Besides thinking that was heretofore the most gorgeous and flawless playing I had ever heard, he played at least twice as loud as I, and I could not believe that that volume was even possible on the clarinet.
For what that's worth.
...................Paul Aviles
|
|
The Clarinet BBoard
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
