 The Clarinet BBoard
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Author: Aussie Nick
Date: 2002-10-11 08:53
This is something my teacher and I have discussed, and he says that when he was younger, he got his idea of sound from growing up with a violist brother. He says that the clarinet players are my uni hear too many clarinet sounds and get our own idea of sound from that. He wants me to listen to more cello/viola recordings and listen for tone quality etc. I can see his point, but at the same time I don't REALLY understand how it is going to be benefitial to me. What are your opinions?
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Author: Synonymous Botch
Date: 2002-10-11 12:10
I think what your instructor is after may be to avoid cloning another player's approach; for you to synthesize a personal voice, you must amalgamate your OWN sound from various sources.
If you merely emulate other players, you will be a copy of lower resolution...My tone model is built around Lionel Hampton and his vibraphone as a session instrument.
Certainly there are physical limits to what a wind instrument can do in comparison to bowed or percussive instruments, but the approach to dynamics can be broadened.
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Author: William
Date: 2002-10-11 14:50
We can learn a lot about musicianship--phrasings, stylings, expression, etc--from listening to the fine artistic renderings of other vocalists or instrumentalists, but I really feel that if you want to pick out the best driving Chevrolet, you do not study a lot of horses.
There is no substitue for listening to as many clarinetists as possible to build your own inner concept of "what is good." And that "good" is a very personal, individual concept that will be with you throughout your career--so sample sound bits of all the "great" players and choose wisely the sound you wish to emmulate as "your own."
Actually, what you may discover is that the specific quality of sound is less important than its intonation, its rhythmic accuracy and the artistry with which it is delivered.
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Author: Frank Mochol
Date: 2002-10-11 15:16
Wouldn't you agree that in classical music, there is less room for individuality when it comes to sound? ....at least compared to jazz sax players? Even a novice would recognize the sound they're listening to as a clarinet...try convincing the same person that Paul Desmond, Phil Woods and Ornette Coleman ( and maybe Sigurd Rascher) are all playing alto saxes.....!
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Author: Ken Shaw
Date: 2002-10-11 15:27
On every instrument, there are things that are easy and things that are difficult. On clarinet, the breath ties long phrases together in a way that doesn't happen naturally on the piano, or even on the violin, where the bow has to be reversed constantly. On the other hand, the breath is much more difficult to control than a violin bow, so violinists can have pinpoint control of dynamics and shadings of tone that are nearly impossible on clarinet. It's difficult to double tongue on clarinet, while violinists do up and down bows naturally. Pianists, and violinists, too, play double stops easily, and pianists always have the bass line to anchor the harmony.
It's possible, and useful, to stretch your clarinet playing by learning to approximate the effects that are natural on other instruments. For example, I've sat in on string quartet sessions where there was no violist (reading bass cleff on the alto clef part). I quickly realized that I had to arch phrases as if I were using a bow, and to imitate a pizzicato by making an explosive tongue stroke and quickly tapering off the sound.
I listen a lot to violinists, noting with envy how easily they play soft, high notes and phrase with the bow. I hear how pianists weight the different notes in chords to bring out the important lines or point up the harmony. These sorts of things remind me of what I need to do to play better.
Finally, you learn by listening to the great musicians, and I have learned at least as much from Kreisler, Lipatti and John McCormack as I have from all the clarinet records.
Best regards.
Ken Shaw
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Author: Erin
Date: 2002-10-11 16:28
I really like the comment about playing in place of a violist in a quartet--it certainly does help with arching of phrases & differing attacks, i.e. pizzicato.
Another aspect of this is the 'weight' of sound that string players are able to vary with the bow. It has helped me as a clarinet player to adjust my tone color; the 'density' of the sound can make a big difference in blending and can create interest in lieu of vibrato.
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Author: Ken
Date: 2002-10-11 21:42
Perhaps I'm just a hopeless purest and dogmatic militant defender of our beloved instrument, but I must ask the question. Why would any clarinet player regardless of idiom/setting who is playing a part written specifically for the clarinet, intentionally imitate the characteristics of another instrument to the degree of risking the loss of the fundamental color, purpose, family role and even "identity" of the clarinet? (aka strings) All for the sake of blending better?
I can justify it to a point if you're saddled with a band transcription and have to cover string parts, as a useful exercise to re-create a certain effect in a unique environment, or emulating the human voice to play more lyrically as an extension. Other than that, WE ARE woodwinds/clarinets and never the twain shall meet. I'm frankly not interested in sounding or being like any other instrument. In any ensemble assignment, I strive to the best of my ability to blend within the confines and inherent limitations of the horn; any less than that I consider a betrayal of who and what I am as a musician and contributor member.
It reminds me of a band rehearsal years ago; we were playing a transcription of Roman Carnival. Somewhere in the piece the conductor stopped the band, looked at the saxophone section full of Selmers and said, "I want you guys to sound more like Berg Larsens here". The Principal alto peered back at him, spoke up on behalf of the section and said, "We're NOT PLAYING on Berg Larsens!" Seriously, when was the last time you heard of any string players sitting around discussing/practicing bowing techniques of tongue against reed? In my view, I didn't invest six years of my life and $50,000 getting an MM and 25 more years of making a living at it to play like an orchestra string section. Respectfully, KEN. <;-
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Author: david dow
Date: 2002-10-12 00:47
A fine clarinetist has to be able to blend or sound like just about every instrument in the orchestra at one time or another. Unisons with cellos and violas are my favorite- and the richeness of color of adapting and blending is only when your sound matches pitch (and focus wise) with these groups. Our orchestra just did Beethoven 3 and i must admit that I think this is one of the tougher one becuase the clarinet player is just about with every instrument on a unison with someone ealse at one moment or another.
I would also agree with Ken that a good tone with a clarinet will blend with just about any instrument. This is far more deceptive than alot of people think. But then again, the clarinet is pretty tricky if you account for the nature of playing it in tune.
Sincerely,
D dow
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Author: Morrigan
Date: 2002-10-12 05:01
Nick
I like to draw inspiration for my tone from female vocalists! And I'm not talking about opera, I'm talking about modern pop, coz there are some beautiful voices out there.
Namely, and this may sound stupid, but fellow aussies will know the band Geroge, and their song Breathe in Now. The female vocalists in this has such a beautiful voice, and I listen closely to how her voice carries over intervals - it's so beautiful but also so robust and free.
What do you think?
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Author: Andy
Date: 2002-10-12 13:17
Let's not forget that the violist that Nick's teacher listened to consistently through his youth and beyond is non other then Brett Dean, former Principal Viola with the Berlin Philharmonic, who happens to be his brother. I have thought about this since I first heard Nick's teachers comments about this and maybe it is actually his brothers musicianship that he was attracted just as much as the tone of the instrument.
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Author: diz
Date: 2002-10-14 02:11
Aussie Nick - you posting is interesting, but fortunately Brett Dean (the violist in question) was/is one of the world's outstanding players (ex Berlin Philharmonic).
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Author: Erin
Date: 2002-10-14 16:33
In regard to the long statement about not wanting to sound like another instrument...(Ken)
Agreed--clarinets should sound like clarinets, they have a distinctive tone color & quality and we all work to make that the best that we can. It is rather silly to think that we don't ever have to blend with another section at one time or another. It is a type of teamwork.
And aren't all instruments in one way or another reproducing singing? Didn't Mozart even make mention in a letter to his father that the clarinet is the most voice-like of all the instruments?
As far as string players go, they do indeed talk about other instruments in terms of color and articulation (I am married to a fine professional string player & orchestra member). When they are playing in orhcestras they do have match to varying articulations of other instruments, for example, oboes & mallet percussion which often present challenges.
Individual tone color is crucial for solo passages or recitals, but I have heard many a wind ensemble that had 12-15 different ideas of tone & it was not a pleasant experience for the audience members.
Respectfully,
eb
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