 The Clarinet BBoard
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Author: sfalexi
Date: 2004-11-24 02:06
We are all clarinetists on this board, and therefore by nature picky about every little detail. Is there any one person that you've heard that you really can't say anything bad about and try to emulate while playing or strive to become more like?
For me and from the few clarinetists I've heard, it's Andrew Marriner. All others I can pick one or two things that I think are good but maybe can be done better, but this guy encompasses what I would like "my sound" to be. To coin a phrase, I'd be happy if I was HALF the clarinetist he was.
Who's it for you?
US Army Japan Band
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Author: Contra
Date: 2004-11-24 02:13
Nope. I try to make a sound that is uniquely my own. I just wish the rest of my section didn't object so much.
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Author: psychotic lil clarinet girl (don't as
Date: 2004-11-24 02:35
well I try to emulate my clarinet teacher, although I'm not doing such a good job of it... But sadly I end up emulating the clarinet players that sit next to me in class... darnit!
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Author: Igloo Bob
Date: 2004-11-24 03:07
For sheer awesomeness, I've always liked Paquito D'Rivera (much more for Sax, but he's great on Clarinet as well), but he's really beyond the point of emulation for me. I set my sights reasonable, y'see. The only sound I've heard, liked, and thought I could emulate was one of a UK band playing Lincolnshire Posy I heard a while back. I don't remember which band it was, but I liked the Clarinet sounds, and absolutely loved the Bass Clarinet player. I do remember the album art of the CD, though, so I'll have to look it up on Amazon later.
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Author: Ralph G
Date: 2004-11-24 13:20
I don't think there's anything wrong with trying to emulate someone. You'll never sound completely like them, but you can take things you admire about their style and, through the inherent uniqueness of your own abilities, you'll craft it into something entirely yours. That said, I'd cut off all ten fingers to play like Jon Manasse.
________________
Artistic talent is a gift from God and whoever discovers it in himself has a certain obligation: to know that he cannot waste this talent, but must develop it.
- Pope John Paul II
Post Edited (2004-11-24 13:21)
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Author: RAMman
Date: 2004-11-24 13:26
I don't think anyone specific, I often hear things and try to build ideas on them.
If you're going to emulate someone specific, you have picked a fine choice.
Although...everytime he teaches us at college we have to remind to take his copy of the Mozart Concerto to concerts with him...he has a habit of forgetting how the first movement goes!!
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Author: Ron Jr.
Date: 2004-11-24 14:11
As for clarinetists I emulate it would have to be Sabine Meyer. I love her musicality and artistry. I love how her altissimo register sounds flute-like.
Ron Jr.
Post Edited (2006-03-06 17:48)
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Author: clarnibass
Date: 2004-11-24 14:46
There is no player I try to emulate, but I do try to listen to as many clarinet players so I can hear new ideas and use them in my own a original way (not always successfuly though). The players that give me the most inspiration are Eric Dolphy, Louis Sclavis, and Benny Goodman.
I also heard Henri Bok (just a few samples) and liked hi multiphonics so I'm going to try some of that.
There are many players (not necessarily clarinet players) that just try sound exactly like someone else. They usually sound almost the same as the original, but not as good. That is the same as not playing at all imho.
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Author: Clarinetist
Date: 2004-11-24 14:56
I don´t try to emulate any specific either. I heard Franklin Cohen´s recording of the Mozart´s concerto some days ago. I really liked his tone, but he decorated the piece way too much. But as I said before his sound was very beautiful the weren´t anything that I didn´t like what comes to his tone. However, there are many others who´s sound I like.
Ron Jr. wrote: >I love how her altissimo register sounds flute-like.
I guess it´s all matter of taste, when it comes to the tone, but Sabine´s altissimo register is one of the few reasons I don´t like to listen to her anymore. On the other hand I prefer the flute-like sound in the altissimo, when a player is using it as an effect. Be aware that I don´t underestimate Sabine´s accomplishments.
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Author: Mark Charette
Date: 2004-11-24 15:01
Clarinetist wrote:
> Be aware that I don´t underestimate Sabine's accomplishments.
Bravo! A wonderful phrase to use when discussing anyone's performance - hopefully one I'll remember to use often.
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Author: David Spiegelthal ★2017
Date: 2004-11-24 15:02
On bass clarinet: Ron Reuben of the Philadelphia Orchestra
On soprano clarinet: Too many great ones to list!
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Author: Henry
Date: 2004-11-24 15:26
Ralph G. said: "I'd cut off all ten fingers to play like Jon Manasse."
Yes, I agree. Jon has the best open G that I've heard from anyone!
Henry
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Author: William
Date: 2004-11-24 16:33
I emulate anyone who can single tongue faster than I can. And as I am stuck at quads = 112 mm, I have a lot of clarinetists to look up to.
(I was never as good as I used to be, anyhow)
BTW--Happy Thanksgiving Day--but get back to those practice rooms on Friday!!!!!!
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Author: Ralph G
Date: 2004-11-24 16:57
Henry,
Manasse could probably use his finger stumps to play stuff with the trill keys alone and still sound better than me with my digits intact.
________________
Artistic talent is a gift from God and whoever discovers it in himself has a certain obligation: to know that he cannot waste this talent, but must develop it.
- Pope John Paul II
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Author: Aussie Nick
Date: 2004-11-24 17:26
For me its Francesco Celata of the Sydney Symphony. I do think its important to keep a sence of individuality in ones playing so I don't concentrate on copying someone.
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Author: 3dogmom
Date: 2004-11-24 19:38
I love what "contra" said. That's really very profound.
Sue
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Author: Liquorice
Date: 2004-11-24 21:04
Clarinetist wrote: "I really liked his tone, but he decorated the piece way too much. "
By what standards did he decorate the piece too much? Your own taste, or some knowledge that you have of how much the piece should be decorated?
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Author: Gretchen
Date: 2004-11-25 02:51
emulating one single clarinetist is, in my opinion, like throwing all your eggs in one basket. Why do that when there are SO many people out there that play well?? I tend to emulate anyone that sounds good to me, no matter who. It could be your stand partner even! People we emulate don't have to be famous. If you take in as much as you can, you can pick and choose what you like, use it, and give out your own best.
Maybe then,someone will emulate you!  :)
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Author: Snowy
Date: 2004-11-25 03:06
In Australia and in the jazz idiom it is hard to go past Don Burrows and Andrew Firth. Don Burrows is geeting even "onner" in years than I and Andrew Firth is a joy to hear in any genre .
But in my book the standout , and least widely known jazz clarinet is played by a fellow called Dave Gardiner who teaches at a school in Geelong. The gentleman has the cleanest articulation I have ever heard. He doesn't know it but he is my idol.
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Author: Ben
Date: 2004-11-25 04:33
I guess when I hear a great performance or recording by a top clarinetist (or other instrument), I try to figure out the elements of thier playing I like (tone, style, intonation, etc.) and want to have when I play the piece myself. That doesn't mean that I will want to sound like a clone, or even that that may be possible, but it can help to have a clear idea in the back of your head... some players who I often think of in this regard are: Larry Combs, Burt Hara, Allesandro Carbonare, Riccardo Morales. Sometimes I'll hear someone's playing on the radio or in the soundtrack from a film and feel inspired from the playing, not knowing who the player was! I guess we each have a lot of influences, and many of them occur without directly knowing how they change us.
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Author: Firebird
Date: 2004-11-25 05:57
If you are a using a French clarinet, no point emulating Sabine Meyer. French clarinets pale in contrast to German ones. Try Robert Marcellus or Martin Frost.
Chan
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Author: LeWhite
Date: 2004-11-25 09:11
Snowy - whereabouts are you exactly? I've done a masterclass with Dave and think he's awesome too.
My 'Clarinet Idols' (LOL!) are Ernst Ottensamer and Larry Combs, to name my main influences. I use the word influences because I don't try to emulate them, but rather look to them as a 'this is how it's done' kinda thing, in a very general non-specific way.
__________________
Don't hate me because I play Leblanc! ![[down]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley23.gif) Buffet
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Author: Clarinetist
Date: 2004-11-25 15:35
Liquorice wrote: >By what standards did he decorate the piece too much? Your own taste, or some knowledge that you have of how much the piece should be decorated?
I think it sounded more like swing, especially in the third movement when he added trills and that kind of stuff in it. To my ear, it sounded weird. I have a vision about how this piece of music should be played and his third movement doesn´t suit it very well. You gotta listen to it and see what you think about it.
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Author: DavidBlumberg
Date: 2004-11-25 16:37
I thought that his version was "trite". I don't hear pianists, violinists doing crap like that. It came across to me as arrogant (and I know arrogance.....
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Author: D Dow
Date: 2004-11-25 18:31
Firebird wrote
"If you are a using a French clarinet, no point emulating Sabine Meyer. French clarinets pale in contrast to German ones. Try Robert Marcellus or Martin Frost."
Neither of these guys are German...
Has this player ever heard of Louis Cahusac or even Pascal Moragues..?
David Dow
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Author: allencole
Date: 2004-11-25 19:25
I have always liked what I heard from Benny Goodman and Gervase De Peyer. In later years, Eddie Daniels and Sabine Meyer have also made my ears perk up.
Whatever I like about what they're doing, I emulate. Whatever I don't like I just don't borrow.
I think that emulation is a good thing, and that you get a lot out or emulating various players at different stages of your development. I feel like I get more from spending time studying certain individual players and trying to totally absorb those things that I want to get from them. Then do the same thing with someone else...etc.
Allen Cole
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Author: Synonymous Botch
Date: 2004-11-26 11:11
We stand on the shoulders of giants....
For a pure sound, I should think John Manassee has one.
For reaching an audience, none more capable than Ricardo Morales.
For straight-ahead swing, Kenny Davern.
For a working session man and leader in his own right, Ken Peplowski.
For filling my CD collection, Sabine the Dream.
(Never heard a Cahusac recording...)
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Author: Michael E. Shultz
Date: 2004-11-26 11:50
Mr. Acker Bilk (just kidding!)
"Outside of a dog, a book is man's best friend. Inside of a dog, it's too dark to read."
Groucho Marx
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Author: sfalexi
Date: 2004-11-26 19:10
Michael E. Shultz wrote:
> Mr. Acker Bilk (just kidding!)
>
lol. I was WAITING for someone to break that one out!
And as for the above people who state that you shouldn't copy someone and should try to make your own sound, I understand where you're coming from. But when you think about it, you're not GOING to be able to copy them, and due to changes in equipment, oral cavity, and even just the way that you learn, you will END UP making your own sound. I like the way I sound (sometimes) when I'm playing, and I know I sound different on my Amati than on my Buffet, but I much prefer the Amati's sound. I just try to emulate and hopefully have Andrew Marriner's technique, fluidity, etc.
Sure I think his tone is gorgeous, but even if I don't think my tone is as good as his, due to personal preferences and whatnot I know someone out there will probably think that mine is. (cause like the above person mentioned "Acker Bilk", whom we've had discussions about over and over again, I remember people saying they loved his sound. So SOMEONE'S gotta like MINE out there!)
Alexi
US Army Japan Band
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Author: blunderburtonpie
Date: 2004-11-27 01:48
i havent really started yet but i guess i'll try to emulate my best friend (cuz she's gonna teach me), she's good and may be goin to the NC School of Arts and she's helped me through EVERYTHING so i guess it's more of a admiration of the highest rank than an emulation...is emulation even a word?
blunderburtonpie@aol.com
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Author: Andy Firth
Date: 2007-10-04 22:25
Hi Snowy,
I couldn't agree with you more. David Gardiner is a fantastic player and a lovely guy. We've worked together a few times. The Bob Barnard Jazz party a few years back was fun. Me, Dave and Anti Sarpilla-huge fun!
Cheers!
Andy
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Author: GoatTnder
Date: 2007-10-04 22:47
Two players I try to emulate most:
Robert Plane - I love the British sound. It's heavier than French without being fat.
Emily Bernstein - Sadly taken too soon. When I first heard her (and knew who I was hearing), I thought she sounded a lot like myself, only much better.
Andres Cabrera
South Bay Wind Ensemble
www.SouthBayWinds.com
sbwe@sbmusic.org
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Author: 2E
Date: 2007-10-04 23:23
good on Andy Firth for resurecting this thread! I love Eddie Daniels sound and technique whether classical or jazz. LeWhite mentioned Ersnt Ottensamer back in 2004 lol the guy who did the Weber on naxos! haha yes he is good. I love Paul Deans tone and although dont "emulate" players I try to borrow characteristics I like whenever possible.
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Author: rtmyth
Date: 2007-10-05 00:04
All of them, but if I were a god, I would play like Steve Girko.
richard smith
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Author: Mike Clarinet
Date: 2007-10-05 08:03
I like the late much-missed Jack Brymer for his ease of playing, sensitivity amd humour in both his playing and his writing (text, not music).
Amongst the living, it must be Andrew Marriner. I wish I could make the Mozart concerto sound so easy.
British clarinet playing is alive and well (mostly...not saying EJ)
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Author: Sylvain
Date: 2007-10-05 14:15
Studying with Bob Crowley of the Montreal Symphony was an eye opener as to what one could do in terms of color changes on a clarinet and sitting up close had a definite influence on how I approach tone. There is recent CD by the MSO harpist with a lot of the principal players playing with her. On Ravel's introduction and allegro, there are some parts where he plays harmonies with the flute and one is not quite sure if he plays a clarinet or an alto flute. Amazing...
I was enamored with Carbonare's sound but find myself less enthusiastic now.
Last time I heard something that really blew me away was when I bought the sheet music of Stanley Hasty's chromatic fantasy etude. It came with a CD of Tom Martin (Assistant of Boston Symphony) playing the piece. It is out of this world. The technique is flawless, the phrasing is perfect and the tone mind blowing.
--
Sylvain Bouix <sbouix@gmail.com>
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