As with slurred wide intervals it is also best to try executing articulated wide cros - sings first by holding quietly with an es - tablished abundance of playing energies in the hope that our finer intuitive self will draw from these stores exactly what is needed to make the crossings. This means that 1.) the embouchure is actively maintained, 2.) the breath is instantly available and operating from breath source through a continuously open throat channel, 3.) the jaw and back tongue are both relaxed and directing down ward, and that 4.) the maintenance of light and free hands, wrists, and fingers is essential. The mind oversees the fingers’ continuance during wide interval crossings while they merely change from position to position. It will be found helpful in playing a se - quence of articulated wide intervals to es - tablish a mean somewhere between the outlying extremes of the intervals, remaining there quietly in imagination while the fingers move out to play the intervals on either side. Little or no further energy is offered by the lips or breath at either ex - treme to play the tones. RANDOM, ISOLATED THOUGHTS ON LEGATO PLAYING STYLE 1.) The culprits, when legato playing is not going well, are most likely to be the fingers and the breath. The fingers tend to snap to and from their positions to force the tone to speak. The breath tends to back off at critical times, causing a break in the line, or to overblow in a bumping surge to ensure an interval crossing. These faults must be guarded against. 2.) If I were to describe legato playing style, I would say that it is mainly a smooth uninterruption of tone across each interval, made without undue breath surge, bumping or let-up, the fingers moving precisely into place but without snap. 3.) If we analyze what is happening with the fingers during legato playing, we may be reminded of a centipede, am - bling along on its thousand legs, all co - ordinated, but no single one of them doing much actual work. 4.) I read an article once on legato playing, written by Daniel Bonade. Mr. Bonade made the point that before legato playing can be mastered the player must first master the playing on a well-balanced reed. After that, he must be sure that the breath keeps moving both during and between consecutively played legato tones, and that the fingers do not “slap” onto the holes and keys. He says there is nothing worse than hearing more finger-action than real tone. 5.) I read another article once, this one mainly about staccato playing, written by Rosario Mazzeo. The very first and most important point made by Mr. Maz zeo was that before a person can master staccato playing he must realize that the ability to play a beautiful legato style must not only come first, but that it is actually the basis of a good staccato style. * * * * * In the next installment, we will deal with Keith Stein’s materials having to do with tone quality. ABOUT THE WRITER… David Pino is professor of clarinet in the School of Music at Texas State Uni - versity in San Marcos. He studied clarinet with Keith Stein for 15 years, and is the au thor of the book The <strong>Clarinet</strong> and Clar - inet Playing (Scribner’s, 1980, and Dover, 1998). He has performed and toured with the David Pino Chamber Ensemble (clari - net, strings, and piano), and is a former Se - cretary of the <strong>International</strong> <strong>Clarinet</strong> Society. The <strong>Clarinet</strong> PUBLICATION SCHEDULE The magazine is usually mailed during the last week of Feb ruary, May, August and No vem ber. De - livery time within North America is nor mally 10–14 days, while airmail delivery time outside North America is 7–10 days. Page 32 THE CLARINET
March 2006 Page 33
- Page 1: Volume 33 Number 2 March 2006 Buffe
- Page 5: INTERNATIONAL CLARINET ASSOCIATION
- Page 8 and 9: used in a classical way, combined w
- Page 10 and 11: y Michael Webster Michael Webster S
- Page 12 and 13: Without exception, all of these arp
- Page 14 and 15: The diminished seventh chord gets s
- Page 16 and 17: Page 14 by William Nichols One of t
- Page 18 and 19: conceived heartfelt pieces with Heb
- Page 20 and 21: MICHAEL NORSWORTHY AT CALIFORNIA ST
- Page 22 and 23: “Historically Speaking” is a fe
- Page 24 and 25: y Paul Harris Irecently gave a perf
- Page 26 and 27: y Paul Globus THE NEW WORD IS “CL
- Page 28 and 29: A: Don’t worry. You don’t need
- Page 30 and 31: Biographies of Candidates for I.C.A
- Page 32 and 33: Readers of the previous issue of Th
- Page 36 and 37: A TRIBUTE TO Josef Horák by Henri
- Page 38 and 39: Buffet Crampon’s 180th Anniversar
- Page 40 and 41: y Christine A. Zimmerman For years,
- Page 42 and 43: In Review The Friday morning, July
- Page 44 and 45: A stunning performance of Bassi’s
- Page 46 and 47: Lapa and Yoshimatsu works are espec
- Page 48 and 49: No 16: Super Wind Orchestra, Michiy
- Page 50: Asia, but it was a huge success tha
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- Page 58 and 59: Dileep Gangolli, Evanston, IL Barba
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- Page 62 and 63: I use a stock off-the-shelf Vandore
- Page 64 and 65: Gervase de Peyer in his 80th Year,
- Page 66 and 67: practicing. One special forthcoming
- Page 68 and 69: Bernstein and the Clarinet: Stanley
- Page 70 and 71: conductor, from 1970 up to 1989 whe
- Page 72 and 73: PART II: INTONATION AND FINGERINGS
- Page 74 and 75: TONY SCOTT Part I: The Stateside Ye
- Page 76 and 77: The first installment in this serie
- Page 78 and 79: Sheet music “Out of This World”
- Page 80 and 81: The Mozart Partita Project First Ed
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An Early Performance of Messiaen’
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MUSIC REVIEWS by Himie Voxman Chris
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Innovative Music Fehr, Jorg, Ich sp
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movements have great drive and are
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the program, is not to be missed. H
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Also heard on this CD are 13 record
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STUDENT… Alejandro Lozada, clarin
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INTERNATIONAL CLARINET ASSOCIATION