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thank-you Luke, very well done.
I think almost everyone has handed in the exercises now... so I may as well add a little note.
The little melody that I asked you to place in each instrument had a little trap built in: the trill. I'm glad to see that no one fell for it. That trill, in the clarinet, could very easily have landed right ON the break, making for very awkward fingering.
Just to speak quickly about the break: I don't believe you should make a big case out of it. For beginner clarinetists it is a fingering and tone quality issue, however, for good players it is a non-issue. Obviously, a trill across that break does make for awkward fingering, no matter the technical level of the musician.
I'm going to ask for a bit of patience as I prepare the next set of exercises.
So keep at it, and ask any questions you might have I will answer them and incorporate them into the course if necessary.
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"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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