In honor of my birthday (number 31) I have the only piece that could commemorate my surprise birthday trip.
I actually played this at a conference in college, but we were in Jacksonville. Oh well. Enjoy!
Saturday, February 7, 2009
Friday, February 6, 2009
Superior Performances 2.6.09
Alrighty, I know I've said I don't particularly care for this corps' stuff, but this is the MAJOR exception to that rule. When they leave the whole "these shows are what Cavies base all their ridiculous-not-related-to-the-show-latin/jazz 'park and blows' on" then I'm REALLY happy. This show is called "Methods of Madness" but if you've ever seen "North by Northwest" then you'll see that that's what's really going on. If you get the gist of the movie then you'll appreciate the ending of this show that much more. Extremely well played show...and they came in 2nd! Dang!
Thursday, February 5, 2009
This is creeping me out
So, they've been showing "V for Vendetta" constantly on FX. Heather and I rented it not soon after it came out and it was (and still is) a biting social commentary. However, upon watching it a second time I am reminded of how eerily close we came to allowing this country to become the UK that is portrayed in the film. Thankfully, I don't think we're THAT stupid in this country as to allow a nutbag zealot to take over and force his "religion" (not faith, not Christianity, just a cover really, a bastardization of Jesus' intent for the church that could be used to attain absolute power.) That in and of itself is disgusting...revolting even.
This second watching gives me pause to thank the Lord our Father for His protection over us. No matter how badly anyone wanted to take power in this country only the Lord grants it and he takes it at His will. His will reigns....now if we could only teach that to our "public servants".
This second watching gives me pause to thank the Lord our Father for His protection over us. No matter how badly anyone wanted to take power in this country only the Lord grants it and he takes it at His will. His will reigns....now if we could only teach that to our "public servants".
Wednesday, February 4, 2009
Yes, James Bond is the man
So, I heard this story on the radio a couple months ago. They had this music blogger on and he had done a top ten James Bond theme songs thing and they had him on to discuss it. Well, when he chose "You Only Live Twice" as Number One I knew there was a problem. However, I didn't have a blog back then. Now, I do. So, here goes.
Basically, the James Bond theme song accompanies the credits after the opening sequence of the movie, but it also gives you an idea as to what the movie's going to be about. Sometimes it's really vague, sometimes it's really obvious. It's also become a place where the Broccolis (the producers) can throw in a big name singer or band and get some super cache just from superstar X singing the theme to the movie. Sometimes said band isn't super-super and you may have never heard of them and you discover their music and like them all over again. Sometimes you discover super band X, love the theme, and then generally hate all the rest of their music. Sometimes the theme song is a super pop hit ("Nobody Does it Better") and sometimes you wonder how it got in a James Bond movie at all ("Tomorrow Never Dies")
In my personal opinion the song needs to say something about the movie, be really well written, even better performed, and, if it's really good, require a second listen after you've watched the movie. (BTW - This is NOT my top ten James Bond Movies. That list would come out different.)
10 "Nobody Does it Better"/Carly Simon from "The Spy Who Loved Me"
"Nobody Does it Better" is a total classic late 70's/early 80's power-pop-ballad. Not only does it totally fit the period in which the movie was made (1977) but it was a hit! If you listen closely to the song you can catch on to the whole love - hate - love/hate dynamic that plays out throughout the movie. What can I say, it's a great song! Plus, who doesn't enjoy Carly Simon? (And don't lie. Don't act like...."I'm a man, Carly Simon sucks!" Admit it, you're soooooo vain.)
9 "Diamonds are Forever" / Shirley Bassey
Alright, this song is on here for one reason.... Dame Shirley Bassey. If you don't know who Shirley Bassey is please get acquainted. (I actually listened to recordings of her few years back when I was retooling my sound.) This song is right to the point, totally indicative of what the movie is about, totally hints at the fact that this movie is REALLY funny. It's simple, and wonderful!
8 "A View to a Kill" / Duran Duran
Alrighty, another hit. I remember hearing this song on the radio back in the 80's. Yes, I remember the 80's, and I liked them. (Who are you to judge me!? Please pardon the minor Golden Girls reference.) Anyways, this song is insane. Totally whacked out (much like Max Zorin [and you wondered if I liked Christopher Walken!]), very 80's, and very off the wall. Yet, a major hit.
7 "The Man With The Golden Gun" / Lulu
If you're wondering who Lulu is, I was too. No matter, she's sings the song really well and it has this sort of eastern/70's feel which really fits not only the locale in the movie, but the time period of the movie. Once again, straight to the point. Wonderful song! However, on multiple listenings you start to get more of the lyrics and the multiple parts of the movie they're talking about all at once. My only gripe is that is doesn't end a tiny bit sooner. I really like "We.....Shall....See....." It could totally end right there.
6 "Goldfinger" / Shirley Bassey
Here's Shirley again. Yes, she's the real McCoy. Basically all that needs to be said about this song is the way she says "Goldfinger." Yeah, that's it. She's incredible.
5 "Thunderball" / Tom Jones
Way too many people hate on Tom Jones. Yeah, he doesn't have this massive range, but he has a powerful voice and a voice that was perfectly matched to this song. The song also perfectly matches the movie. Thunderball is pretty grandiose in scale (especially for 1964) and a grandiose song fits perfectly. Besides, who doesn't love that ole Tom can hold the last note of the song for like, a year. Come on, you know you like it!
4 "Live and Let Die" / Paul McCartney and Wings
Hit, hit, hit!!! You can STILL hear this song on oldies stations, sometimes multiple times per day. It's Paul McCartney. It's a perfect play on the phrase "Live and Let Live" (actually, moreso than the movie is.) It's imminently coverable (see Guns N Roses [and yes, their cover is good.]) It moves. It is in the American consciousness. Even if you could care less about James Bond movies you know this song. Yeah, Paul rocks!
3 "Goldeneye" / Tina Turner
Tina Turner is 69 years old people. Have you seen a picture of her lately. The woman is 69 and looks incredible. Moreover, she can SING! Bono and The Edge wrote this song and it definitely carries the feelings of anger and of being sullied by the business that Pierce Brosnan carries of in the movie so well. I would also say that this song has the second best art production for the credits in any Bond movie. Classic stuff.
2 "The World is Not Enough" / Garbage
Garbage is one of those bands I mentioned earlier. The theme song they do is soooooo good, then you try some of their other music and you're like "Dang, I didn't think it was gonna be like that!" The song is basically the premise of the movie....that one phrase...."The World is Not Enough." If you've watched alot of James Bond you know that he had one love in his entire life, and she's dead(putting what her name is aside, we know there was really only one.) That one line is where the entire movie is going. This song is constructed solely around that one line and James Bond's deep-seeded inability to get close to anyone. Then, when he finally does, he realizes he broke his own rules and he gets pushed to the edge and BANG! Yep, that's good stuff people.
1 "You Know My Name" / Chris Cornell
Here we go. This is the definitive Bond theme song, attached to the definitive Bond movie, and the definitive James Bond...Daniel Craig. This has the best Art Direction of any credit sequence of any Bond movie (the playing card graphics are killer.) This song makes sense when you listen to it the first time. Then makes more sense when you listen again after you've watched the movie. The third time you get even more out of it, and the fourth, and the fifth, you get the idea. The song completely parallels what's going on in the movie and is extremely insightful into the persona that becomes (not is, you don't get like that until after you suffer like he does in the movie) James Bond. It's perfectly written and played and sung even better by Chris Cornell. I'd say Soundgarden and Audioslave were exactly the preparation that were needed to write the grittiest, most honest Bond theme that preceeds the grittiest, most honest Bond movie. Enjoy!
Basically, the James Bond theme song accompanies the credits after the opening sequence of the movie, but it also gives you an idea as to what the movie's going to be about. Sometimes it's really vague, sometimes it's really obvious. It's also become a place where the Broccolis (the producers) can throw in a big name singer or band and get some super cache just from superstar X singing the theme to the movie. Sometimes said band isn't super-super and you may have never heard of them and you discover their music and like them all over again. Sometimes you discover super band X, love the theme, and then generally hate all the rest of their music. Sometimes the theme song is a super pop hit ("Nobody Does it Better") and sometimes you wonder how it got in a James Bond movie at all ("Tomorrow Never Dies")
In my personal opinion the song needs to say something about the movie, be really well written, even better performed, and, if it's really good, require a second listen after you've watched the movie. (BTW - This is NOT my top ten James Bond Movies. That list would come out different.)
10 "Nobody Does it Better"/Carly Simon from "The Spy Who Loved Me"
"Nobody Does it Better" is a total classic late 70's/early 80's power-pop-ballad. Not only does it totally fit the period in which the movie was made (1977) but it was a hit! If you listen closely to the song you can catch on to the whole love - hate - love/hate dynamic that plays out throughout the movie. What can I say, it's a great song! Plus, who doesn't enjoy Carly Simon? (And don't lie. Don't act like...."I'm a man, Carly Simon sucks!" Admit it, you're soooooo vain.)
9 "Diamonds are Forever" / Shirley Bassey
Alright, this song is on here for one reason.... Dame Shirley Bassey. If you don't know who Shirley Bassey is please get acquainted. (I actually listened to recordings of her few years back when I was retooling my sound.) This song is right to the point, totally indicative of what the movie is about, totally hints at the fact that this movie is REALLY funny. It's simple, and wonderful!
8 "A View to a Kill" / Duran Duran
Alrighty, another hit. I remember hearing this song on the radio back in the 80's. Yes, I remember the 80's, and I liked them. (Who are you to judge me!? Please pardon the minor Golden Girls reference.) Anyways, this song is insane. Totally whacked out (much like Max Zorin [and you wondered if I liked Christopher Walken!]), very 80's, and very off the wall. Yet, a major hit.
7 "The Man With The Golden Gun" / Lulu
If you're wondering who Lulu is, I was too. No matter, she's sings the song really well and it has this sort of eastern/70's feel which really fits not only the locale in the movie, but the time period of the movie. Once again, straight to the point. Wonderful song! However, on multiple listenings you start to get more of the lyrics and the multiple parts of the movie they're talking about all at once. My only gripe is that is doesn't end a tiny bit sooner. I really like "We.....Shall....See....." It could totally end right there.
6 "Goldfinger" / Shirley Bassey
Here's Shirley again. Yes, she's the real McCoy. Basically all that needs to be said about this song is the way she says "Goldfinger." Yeah, that's it. She's incredible.
5 "Thunderball" / Tom Jones
Way too many people hate on Tom Jones. Yeah, he doesn't have this massive range, but he has a powerful voice and a voice that was perfectly matched to this song. The song also perfectly matches the movie. Thunderball is pretty grandiose in scale (especially for 1964) and a grandiose song fits perfectly. Besides, who doesn't love that ole Tom can hold the last note of the song for like, a year. Come on, you know you like it!
4 "Live and Let Die" / Paul McCartney and Wings
Hit, hit, hit!!! You can STILL hear this song on oldies stations, sometimes multiple times per day. It's Paul McCartney. It's a perfect play on the phrase "Live and Let Live" (actually, moreso than the movie is.) It's imminently coverable (see Guns N Roses [and yes, their cover is good.]) It moves. It is in the American consciousness. Even if you could care less about James Bond movies you know this song. Yeah, Paul rocks!
3 "Goldeneye" / Tina Turner
Tina Turner is 69 years old people. Have you seen a picture of her lately. The woman is 69 and looks incredible. Moreover, she can SING! Bono and The Edge wrote this song and it definitely carries the feelings of anger and of being sullied by the business that Pierce Brosnan carries of in the movie so well. I would also say that this song has the second best art production for the credits in any Bond movie. Classic stuff.
2 "The World is Not Enough" / Garbage
Garbage is one of those bands I mentioned earlier. The theme song they do is soooooo good, then you try some of their other music and you're like "Dang, I didn't think it was gonna be like that!" The song is basically the premise of the movie....that one phrase...."The World is Not Enough." If you've watched alot of James Bond you know that he had one love in his entire life, and she's dead(putting what her name is aside, we know there was really only one.) That one line is where the entire movie is going. This song is constructed solely around that one line and James Bond's deep-seeded inability to get close to anyone. Then, when he finally does, he realizes he broke his own rules and he gets pushed to the edge and BANG! Yep, that's good stuff people.
1 "You Know My Name" / Chris Cornell
Here we go. This is the definitive Bond theme song, attached to the definitive Bond movie, and the definitive James Bond...Daniel Craig. This has the best Art Direction of any credit sequence of any Bond movie (the playing card graphics are killer.) This song makes sense when you listen to it the first time. Then makes more sense when you listen again after you've watched the movie. The third time you get even more out of it, and the fourth, and the fifth, you get the idea. The song completely parallels what's going on in the movie and is extremely insightful into the persona that becomes (not is, you don't get like that until after you suffer like he does in the movie) James Bond. It's perfectly written and played and sung even better by Chris Cornell. I'd say Soundgarden and Audioslave were exactly the preparation that were needed to write the grittiest, most honest Bond theme that preceeds the grittiest, most honest Bond movie. Enjoy!
Tuesday, February 3, 2009
Things That Bug Me: Playing Across the Break
This one drives me bonkers! The break is viewed by so many as this incredible barrier, a musical firewall, a Macedonian Phalanx
the Western Front of the Clarinet(except it's not all quiet), the Great Wall of Break. Like it's this impossibility that cannot be crossed (you know, like when you see that lady who swam across the English Channel and everyone thought "You're out of your mind!") The word break has such a nasty connotation in musical circles. Clarinetists and Band Directors alike curse its name and try to avoid it as much as possible. It's this fear that causes people to not be able to do anything about it.
That attitude drives me crazy. "Well, it's just hard so I can't do it." or "OK kids, now this is REALLY hard but don't freak out because you'll probably never get it anyways." or "This part doesn't "lay well" because it crosses the break." I've heard all of this and more. It's always the same thing "That's so hard, oh no, I can't do it!" Excuse, excuse, excuse (or in the word's of Bob Harper "Talk, talk, talk! Words, words, words!)
Uggghhhhhhhhhhh, enough already!
*OK, deep, calming breaths*
Let's make sure we're all talking about the same thing. The break is the space between Middle B and C and the throat tones on the Clarinet. This space requires you to put down all your fingers again, press the register key, and start all over again going up the horn. It sounds harder than it really is. Now for the demystification...
Approaching the break is probably the easiest place to trip yourself up. Most people get near any kind of jump that requires crossing the break and they immediately psych themselves out. "Oh gosh, here it comes!!!", then a massive burst of air shoots forth and fingers go down all in a jumble and "SQUAWK!!!!" Yep, it's already all over. Basically, everything was done wrong in this scenario. (Oh, and by everything, I mean, EVERYTHING!)
First thing's first. When approaching the break you need to find other ways to read the music. Is there a sequence going on? Some kind of pattern that allows you to just keep playing without a serious amount of thought? You can quantify the interval ("Hey, that's a Perfect 5th.") Is there something that will make you think more about reading than crossing? ("Hey, this is an arpeggio!" "Hey, this is a scale with a note or two missing!") Something!?!
Second on your list is simply, what notes are you playing? Is it A to C? Bb to B? Bb to C? A to B? Determine which pinky fingers need to be down on your right hand. This technique is called "right hand down" (people teach it all the time, and no, it's no revolutionary.) At this point I would also recommend choosing a right hand fingering for the higher note. Even if you're left-handed the left hand pinky keys are only an escape ladder, not the main elevator.
Third is revolutionary (since I've never heard anyone teach it.) Put your middle and ring finger(and the occasional pinky finger you may need on this hand) on your left hand. This technique is called *Ta-DA!* "left hand down." Now then, you've reduced the number of fingers you need to move to 2. Yep, you went from 5 or 7 to 2. Nice, huh?
Anyways, now we have to figure out if you have good motion on your thumb and left index finger. Your finger should be hooked such that your middle knuckle is, basically, pointing straight up towards the top of the Clarinet. If you do this your finger will be positioned resting against the Ab key and almost over the A key. Now, you don't even have to roll, a simple upward movement of the finger will open the A key rather easily. Your left thumb should be placed on the left side, near the edge, of the left thumb key. Make sure your thumb is pointing across the instrument at a 45 degree angle. Since you don't have to cover a hole you don't need to have a ton of contact on this key. I would say that too many people use this key to attempt to hold the instrument up (but that's a whole other post.) Now, if you're on the edge of the key a simple rocking motion on the thumb key will depress the register key. Remember, it barely has to be touched to open (and to work for that matter.)
Now, for those of you that are like "Well, if you have a double register mechanism then blah, blah, blah and if you have a Single Register Mechanism then blah, blah, blah. Oh, and BTW, I didn't buy horn X because it had this kind of mechanism and I just can't play that.....harumph, harumph, harumph!" I have news for you. *Getting down to a whisper* The horn doesn't play bad, you do...... Please stop spreading the rumor that the instrument makes you do things. If the instrument makes the "hssss" sound when you press the register key, broaden your tone so the expanse of your tone sucks up the "hsss' sound. Period. Done. Easy. It's over.
Moving on...
Regarding that rush of air that preceeded the fingers moving in a jumble (which has now been corrected), you have to keep your air flow consistent and warmer than you would think. If you're using a standard Soprano Clarinet embouchure you can't keep your mouth open enough to allow the air flow at the temperature I'm asking you to use. You've got to back off a little...move towards a Saxophone paradigm. An embouchure that more equal pressure all the way around the mouth. Now, if you don't use a ton of air to begin with then you have a bigger problem than crossing the break. Chances are you don't sound too hot(haha, get it? Hot, warm air?....nevermind.)
As the air speed remains consistent and the air temperature is slightly elevated you can simply move two fingers(index finger and thumb) and you're good to go. The note will speak much better than previously, and if you do this enough your overall tone quality will improve.
I recommend that you design some exercises for yourself so you can practice this. Maybe play Major Scales backwards down across the break. You could just a easily use a 5 note segment or even a 3 note segment. Bottom line: You have to do something or it isn't going to get any better.
There's an excellent example of needing this kind of skill in ensemble practice. Eric Whitacre wrote a lovely piece for Band called "October." I love it! Beautifully written. The parts (especially mine) are all very interesting and have alot going on even though the piece is not a barnburner. Basically, you could play the Bass Clarinet part as an unaccompanied solo and carry it off quite nicely.
Anyways, when you listen to the piece enjoy, it's lovely. At about the 5:30 mark things start to get a little frenetic and some tremolos begin to enter in the upper woodwinds. At the 5:42 mark the Bass Clarinet comes in with the tremolo I'm talking about. When everything stops and all you have is trills and tremolos in the woodwinds, in the background is a tremolo in the Bass Clarinet part. The first from D on the 4th line of the staff to Throat A. Then it changes to Middle C to Throat A. Yep, that means you're crossing the break multiple times per second...then you have to change tremolos, then change back. Oh, did I mention you have to play it loud too?? Yeah, no hiding in the corner on this one. We can heeeeaaaaarrrrr yoooooooouuuuuuuu! You can tell even in this recording that the Bass Clarinet tremolo is slower than every other one in the woodwind section. (It doesn't hurt that I know exactly where it is, but you get my point, it's audible.) Ahhhhhhhhhhhhhhhhhhhhhhhhh!
Now, this is not the only example of these principles in literature, but it is quite extreme. When you're in a community band, like I was, and the 3 adults sitting next to you (one of whom who used to teach you privately) all say "I'm not playing this." and they proceed to play it down an octave then you know there's an issue with this in performance practice on an almost epidemic scale. I implore you, please, work this out. I'll do other posts on other pressing issues, but if you do not have command of the middle of the horn you are sailing a sinking ship.
the Western Front of the Clarinet(except it's not all quiet), the Great Wall of Break. Like it's this impossibility that cannot be crossed (you know, like when you see that lady who swam across the English Channel and everyone thought "You're out of your mind!") The word break has such a nasty connotation in musical circles. Clarinetists and Band Directors alike curse its name and try to avoid it as much as possible. It's this fear that causes people to not be able to do anything about it.
That attitude drives me crazy. "Well, it's just hard so I can't do it." or "OK kids, now this is REALLY hard but don't freak out because you'll probably never get it anyways." or "This part doesn't "lay well" because it crosses the break." I've heard all of this and more. It's always the same thing "That's so hard, oh no, I can't do it!" Excuse, excuse, excuse (or in the word's of Bob Harper "Talk, talk, talk! Words, words, words!)
Uggghhhhhhhhhhh, enough already!
*OK, deep, calming breaths*
Let's make sure we're all talking about the same thing. The break is the space between Middle B and C and the throat tones on the Clarinet. This space requires you to put down all your fingers again, press the register key, and start all over again going up the horn. It sounds harder than it really is. Now for the demystification...
Approaching the break is probably the easiest place to trip yourself up. Most people get near any kind of jump that requires crossing the break and they immediately psych themselves out. "Oh gosh, here it comes!!!", then a massive burst of air shoots forth and fingers go down all in a jumble and "SQUAWK!!!!" Yep, it's already all over. Basically, everything was done wrong in this scenario. (Oh, and by everything, I mean, EVERYTHING!)
First thing's first. When approaching the break you need to find other ways to read the music. Is there a sequence going on? Some kind of pattern that allows you to just keep playing without a serious amount of thought? You can quantify the interval ("Hey, that's a Perfect 5th.") Is there something that will make you think more about reading than crossing? ("Hey, this is an arpeggio!" "Hey, this is a scale with a note or two missing!") Something!?!
Second on your list is simply, what notes are you playing? Is it A to C? Bb to B? Bb to C? A to B? Determine which pinky fingers need to be down on your right hand. This technique is called "right hand down" (people teach it all the time, and no, it's no revolutionary.) At this point I would also recommend choosing a right hand fingering for the higher note. Even if you're left-handed the left hand pinky keys are only an escape ladder, not the main elevator.
Third is revolutionary (since I've never heard anyone teach it.) Put your middle and ring finger(and the occasional pinky finger you may need on this hand) on your left hand. This technique is called *Ta-DA!* "left hand down." Now then, you've reduced the number of fingers you need to move to 2. Yep, you went from 5 or 7 to 2. Nice, huh?
Anyways, now we have to figure out if you have good motion on your thumb and left index finger. Your finger should be hooked such that your middle knuckle is, basically, pointing straight up towards the top of the Clarinet. If you do this your finger will be positioned resting against the Ab key and almost over the A key. Now, you don't even have to roll, a simple upward movement of the finger will open the A key rather easily. Your left thumb should be placed on the left side, near the edge, of the left thumb key. Make sure your thumb is pointing across the instrument at a 45 degree angle. Since you don't have to cover a hole you don't need to have a ton of contact on this key. I would say that too many people use this key to attempt to hold the instrument up (but that's a whole other post.) Now, if you're on the edge of the key a simple rocking motion on the thumb key will depress the register key. Remember, it barely has to be touched to open (and to work for that matter.)
Now, for those of you that are like "Well, if you have a double register mechanism then blah, blah, blah and if you have a Single Register Mechanism then blah, blah, blah. Oh, and BTW, I didn't buy horn X because it had this kind of mechanism and I just can't play that.....harumph, harumph, harumph!" I have news for you. *Getting down to a whisper* The horn doesn't play bad, you do...... Please stop spreading the rumor that the instrument makes you do things. If the instrument makes the "hssss" sound when you press the register key, broaden your tone so the expanse of your tone sucks up the "hsss' sound. Period. Done. Easy. It's over.
Moving on...
Regarding that rush of air that preceeded the fingers moving in a jumble (which has now been corrected), you have to keep your air flow consistent and warmer than you would think. If you're using a standard Soprano Clarinet embouchure you can't keep your mouth open enough to allow the air flow at the temperature I'm asking you to use. You've got to back off a little...move towards a Saxophone paradigm. An embouchure that more equal pressure all the way around the mouth. Now, if you don't use a ton of air to begin with then you have a bigger problem than crossing the break. Chances are you don't sound too hot(haha, get it? Hot, warm air?....nevermind.)
As the air speed remains consistent and the air temperature is slightly elevated you can simply move two fingers(index finger and thumb) and you're good to go. The note will speak much better than previously, and if you do this enough your overall tone quality will improve.
I recommend that you design some exercises for yourself so you can practice this. Maybe play Major Scales backwards down across the break. You could just a easily use a 5 note segment or even a 3 note segment. Bottom line: You have to do something or it isn't going to get any better.
There's an excellent example of needing this kind of skill in ensemble practice. Eric Whitacre wrote a lovely piece for Band called "October." I love it! Beautifully written. The parts (especially mine) are all very interesting and have alot going on even though the piece is not a barnburner. Basically, you could play the Bass Clarinet part as an unaccompanied solo and carry it off quite nicely.
Anyways, when you listen to the piece enjoy, it's lovely. At about the 5:30 mark things start to get a little frenetic and some tremolos begin to enter in the upper woodwinds. At the 5:42 mark the Bass Clarinet comes in with the tremolo I'm talking about. When everything stops and all you have is trills and tremolos in the woodwinds, in the background is a tremolo in the Bass Clarinet part. The first from D on the 4th line of the staff to Throat A. Then it changes to Middle C to Throat A. Yep, that means you're crossing the break multiple times per second...then you have to change tremolos, then change back. Oh, did I mention you have to play it loud too?? Yeah, no hiding in the corner on this one. We can heeeeaaaaarrrrr yoooooooouuuuuuuu! You can tell even in this recording that the Bass Clarinet tremolo is slower than every other one in the woodwind section. (It doesn't hurt that I know exactly where it is, but you get my point, it's audible.) Ahhhhhhhhhhhhhhhhhhhhhhhhh!
Now, this is not the only example of these principles in literature, but it is quite extreme. When you're in a community band, like I was, and the 3 adults sitting next to you (one of whom who used to teach you privately) all say "I'm not playing this." and they proceed to play it down an octave then you know there's an issue with this in performance practice on an almost epidemic scale. I implore you, please, work this out. I'll do other posts on other pressing issues, but if you do not have command of the middle of the horn you are sailing a sinking ship.
Monday, February 2, 2009
A Weighty Mouthpiece Issue
So, I've been thinking. I've been playing a Selmer (D) mouthpiece on Bass for about 10 years now. It totally works. I've got two of 'em to boot! One's kinda old (I wouldn't call it vintage as it doesn't have the model etched on the table) which is really nice (basically, it plays the entire range of the horn without issue(Eb3 to Eb8)) and I have a newer one (got it in 2002) which is "FATTIE!"
Anyways, I keep thinking about other mouthpieces I should try, brands I should give a shot. There's all sorts of pieces that I've considered: a bigger Selmer, one from a new Behn line, a Fobes Debut (I have an original Basso Nova that is so old it has the hand engraved "Basso Nova" on it. Got it from Clark's booth at Clarinetfest in '98. He actually let me stand there and try 30 pieces before I bought), a HUGE Pillinger, and a HUGER Pomarico. I LOVE the "Basso Nova", but something about the Selmers draws me in deeper than the Fobes, but I can't give up on the Fobes. That sucker is one-of-a-kind.
I should speak up for Clark right here. I play a Fobes Nova on Alto Clarinet and it's as big as a howitzer
(no, really, the back end of the mouthpiece is larger in circumference than the shank on the neck) and plays that way too.
I play a Fobes Debut on Soprano Clarinet (he sent it to me free as part of his Debut program. It worked! I love the thing and sing it's praises daily!) It's not a tank, but moves like a spitfire
...and that's a good thing on Clarinet. So, the moral of this story is, Clark rocks!
On Bass, however, I'm about 1000000000000 bagillion times more discerning about my sound. If you read my diatribe on tonal profiling then you'll know that I'm REALLY particular about my sound. I've considered getting everything from something bigger, to something smaller, to something made from rod stock (like the Selmers are); I've considered upgrading on a mouthpiece I currently have (like getting a Fobes San Francisco (which is made from a Zinner blank)), and way too much more to tell. Then, the other day, I'm thinking..."What if I actually use a heavy mouthpiece?" Honestly, a heavy mouthpiece. Like, on "Good Eats" when Alton Brown always says about fruits and vegetables "They should seem heavy for their size." Should my mouthpieces seem heavy for their size...?
I did an unscientific test on my pieces (of which I have many) and I have to say the Selmers seemed heaviest, the Fobes seemed almost as heavy, and my little plastic Yamahas and Brilhart seemed pretty light. Maybe I'm on to something.
I'm going to bring the Fobes out of the dugout and bat the New D, the Old D, and the Fobes 1,2,3. I'll give it about a week, then I'm gong to weigh them. We'll see if I'm remotely right (even if it only applies to me.) Hopefully I'll come up with more questions than answers.
Anyways, I keep thinking about other mouthpieces I should try, brands I should give a shot. There's all sorts of pieces that I've considered: a bigger Selmer, one from a new Behn line, a Fobes Debut (I have an original Basso Nova that is so old it has the hand engraved "Basso Nova" on it. Got it from Clark's booth at Clarinetfest in '98. He actually let me stand there and try 30 pieces before I bought), a HUGE Pillinger, and a HUGER Pomarico. I LOVE the "Basso Nova", but something about the Selmers draws me in deeper than the Fobes, but I can't give up on the Fobes. That sucker is one-of-a-kind.
I should speak up for Clark right here. I play a Fobes Nova on Alto Clarinet and it's as big as a howitzer
(no, really, the back end of the mouthpiece is larger in circumference than the shank on the neck) and plays that way too.
I play a Fobes Debut on Soprano Clarinet (he sent it to me free as part of his Debut program. It worked! I love the thing and sing it's praises daily!) It's not a tank, but moves like a spitfire
...and that's a good thing on Clarinet. So, the moral of this story is, Clark rocks!
On Bass, however, I'm about 1000000000000 bagillion times more discerning about my sound. If you read my diatribe on tonal profiling then you'll know that I'm REALLY particular about my sound. I've considered getting everything from something bigger, to something smaller, to something made from rod stock (like the Selmers are); I've considered upgrading on a mouthpiece I currently have (like getting a Fobes San Francisco (which is made from a Zinner blank)), and way too much more to tell. Then, the other day, I'm thinking..."What if I actually use a heavy mouthpiece?" Honestly, a heavy mouthpiece. Like, on "Good Eats" when Alton Brown always says about fruits and vegetables "They should seem heavy for their size." Should my mouthpieces seem heavy for their size...?
I did an unscientific test on my pieces (of which I have many) and I have to say the Selmers seemed heaviest, the Fobes seemed almost as heavy, and my little plastic Yamahas and Brilhart seemed pretty light. Maybe I'm on to something.
I'm going to bring the Fobes out of the dugout and bat the New D, the Old D, and the Fobes 1,2,3. I'll give it about a week, then I'm gong to weigh them. We'll see if I'm remotely right (even if it only applies to me.) Hopefully I'll come up with more questions than answers.
Sunday, February 1, 2009
And the inductees are....
I've been watching the Pro Football Hall of Fame press conference and was reminded of what excellent football players were nominated this year. There's so many who should be going in. Can we get a rule change people, so we can get everybody in who should be in without having to wait for the veteran's commitee?
The class of 2009 is:
Bruce Smith: Is the All-Time Leader in Sacks and is BY FAR one of the best defensive players of his era (that's how I would judge someone, since you can't compare different eras.) I remember watching him growing up and thinking he was just "the man". Yeah, it's confirmed, he's "the man".
Ralph Wilson: Is the founder and owner of the Buffalo Bills. He is a founding member of the old AFL and is one of the huge reasons why I have so much football to yap about. (Plus, the stadium bearing his name was the site of one of the best DCI finals in history [who can forget that Planets show Cavies won with? The Cadets show that closed with the Iwo Jima flag raising? A Drum Corps Fan's Dream Part 1? Phantom playing the Rhapsody on themes by Paganini? Santa Clara's non-Nutcracker? ]) And, it's especially sweet that he went in with Bruce. Only Andre Reed, Darryl Talley and Steve Tasker left to go from those incredible Bills teams that went to 4 straight Super Bowls.
Randall McDaniel: Another guy I remember growing up. He was a beastly offensive lineman for a long time with the Vikings. Believe me, if you can remember a lineman's name, he's pretty stinkin' good.
Bob Hayes: The Bullet. He was a 2-time Gold Medalist at the '64 Olympics. He averaged a touchdown every 5.2 catches. Need anything else?
Rod Woodson: Could have easily been Defensive Player of the Year just about every year he was with the Steelers. He was instrumental in the Steelers reaching Super Bowl XXX and is an overall great human being. If you saw him get up and talk at the press conference the first thing he did was thank Jesus. Alright!
Derrick Thomas: For me, is a requirement for the Hall of Fame. When he died it was a shock and a tragedy. He was the first player in the league to start his own charitable foundation and STILL holds the record for most sacks in a single game (7), AND had a forced fumble in 1 of every 4 games he played in. He was undoubtably one of the most feared players of his era and he propped up the Chiefs for a long, long, long time. This is way overdue Derrick, way overdue...
The class of 2009 is:
Bruce Smith: Is the All-Time Leader in Sacks and is BY FAR one of the best defensive players of his era (that's how I would judge someone, since you can't compare different eras.) I remember watching him growing up and thinking he was just "the man". Yeah, it's confirmed, he's "the man".
Ralph Wilson: Is the founder and owner of the Buffalo Bills. He is a founding member of the old AFL and is one of the huge reasons why I have so much football to yap about. (Plus, the stadium bearing his name was the site of one of the best DCI finals in history [who can forget that Planets show Cavies won with? The Cadets show that closed with the Iwo Jima flag raising? A Drum Corps Fan's Dream Part 1? Phantom playing the Rhapsody on themes by Paganini? Santa Clara's non-Nutcracker? ]) And, it's especially sweet that he went in with Bruce. Only Andre Reed, Darryl Talley and Steve Tasker left to go from those incredible Bills teams that went to 4 straight Super Bowls.
Randall McDaniel: Another guy I remember growing up. He was a beastly offensive lineman for a long time with the Vikings. Believe me, if you can remember a lineman's name, he's pretty stinkin' good.
Bob Hayes: The Bullet. He was a 2-time Gold Medalist at the '64 Olympics. He averaged a touchdown every 5.2 catches. Need anything else?
Rod Woodson: Could have easily been Defensive Player of the Year just about every year he was with the Steelers. He was instrumental in the Steelers reaching Super Bowl XXX and is an overall great human being. If you saw him get up and talk at the press conference the first thing he did was thank Jesus. Alright!
Derrick Thomas: For me, is a requirement for the Hall of Fame. When he died it was a shock and a tragedy. He was the first player in the league to start his own charitable foundation and STILL holds the record for most sacks in a single game (7), AND had a forced fumble in 1 of every 4 games he played in. He was undoubtably one of the most feared players of his era and he propped up the Chiefs for a long, long, long time. This is way overdue Derrick, way overdue...
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