Articulation - Versionsgeschichte

Heinrich am 11. Mai 2021 um 15:24 Uhr

2021-05-11T15:24:31Z

← Nächstältere Version		Version vom 11. Mai 2021, 17:24 Uhr
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	This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#Attack\|Attack]] or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.		This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#Attack\|Attack]] or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.
	<br>		<br>
	The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See[https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].		The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See [https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].
	==Historical Sources==		==Historical Sources==
	[[Datei:Xavier Lefèvre.jpg\|mini\|x180px\|links\|[https://de.wikipedia.org/wiki/Jean-Xavier_Lefèvre Jean-Xavier Lefèvre]]]		[[Datei:Xavier Lefèvre.jpg\|mini\|x180px\|links\|[https://de.wikipedia.org/wiki/Jean-Xavier_Lefèvre Jean-Xavier Lefèvre]]]

Heinrich am 11. Mai 2021 um 15:23 Uhr

2021-05-11T15:23:59Z

← Nächstältere Version		Version vom 11. Mai 2021, 17:23 Uhr
Zeile 31:		Zeile 31:
	This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#Attack\|Attack]] or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.		This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#Attack\|Attack]] or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.
	<br>		<br>
	The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See ~~Siehe~~ [https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].		The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See[https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].
	==Historical Sources==		==Historical Sources==
	[[Datei:Xavier Lefèvre.jpg\|mini\|x180px\|links\|[https://de.wikipedia.org/wiki/Jean-Xavier_Lefèvre Jean-Xavier Lefèvre]]]		[[Datei:Xavier Lefèvre.jpg\|mini\|x180px\|links\|[https://de.wikipedia.org/wiki/Jean-Xavier_Lefèvre Jean-Xavier Lefèvre]]]

Heinrich am 30. April 2021 um 17:44 Uhr

2021-04-30T17:44:27Z

← Nächstältere Version		Version vom 30. April 2021, 19:44 Uhr
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	* [[Michel Westphal#Toutes les gammes avec toutes les articulations\|Michel Westphal 1]], [[Michel Westphal#Développer la qualité des articulations\|2]], [[Michel Westphal#Les articulations variées\|3]]		* [[Michel Westphal#Toutes les gammes avec toutes les articulations\|Michel Westphal 1]], [[Michel Westphal#Développer la qualité des articulations\|2]], [[Michel Westphal#Les articulations variées\|3]]
	</div>		</div>
	This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#Attack\|~~attack~~]] or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.		This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#Attack\|Attack]] or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.
	<br>		<br>
	The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See Siehe [https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].		The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See Siehe [https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].

Heinrich am 30. April 2021 um 17:42 Uhr

2021-04-30T17:42:42Z

← Nächstältere Version		Version vom 30. April 2021, 19:42 Uhr
Zeile 29:		Zeile 29:
	* [[Michel Westphal#Toutes les gammes avec toutes les articulations\|Michel Westphal 1]], [[Michel Westphal#Développer la qualité des articulations\|2]], [[Michel Westphal#Les articulations variées\|3]]		* [[Michel Westphal#Toutes les gammes avec toutes les articulations\|Michel Westphal 1]], [[Michel Westphal#Développer la qualité des articulations\|2]], [[Michel Westphal#Les articulations variées\|3]]
	</div>		</div>
	This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#attack~~\|Attack~~]]or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.		This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#Attack\|attack]] or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.
	<br>		<br>
	The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See Siehe [https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].		The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See Siehe [https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].

Heinrich am 30. April 2021 um 17:41 Uhr

2021-04-30T17:41:26Z

← Nächstältere Version		Version vom 30. April 2021, 19:41 Uhr
Zeile 29:		Zeile 29:
	* [[Michel Westphal#Toutes les gammes avec toutes les articulations\|Michel Westphal 1]], [[Michel Westphal#Développer la qualité des articulations\|2]], [[Michel Westphal#Les articulations variées\|3]]		* [[Michel Westphal#Toutes les gammes avec toutes les articulations\|Michel Westphal 1]], [[Michel Westphal#Développer la qualité des articulations\|2]], [[Michel Westphal#Les articulations variées\|3]]
	</div>		</div>
	This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#attack\|Attack]]or [[Staccato (en)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (en)\|Legato]], as a variant of articulation.		This page describes the instrumental-technical possibilities of playing a single note or several neighboring notes in succession. There are also links to the chapters on [[Articulation#attack\|Attack]]or [[Staccato (English)\|Staccato]]. Playing several notes without articulation pauses is explained in the chapter [[Legato (English)\|Legato]], as a variant of articulation.
	<br>		<br>
	The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See Siehe [https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].		The articulation determines the physical attack of a sound. This results in a direct relationship between articulation and [[Timbre]]. In a musical context, articulation is considered an important parameter for interpretation. See Siehe [https://youtu.be/x9MCM1thu7s?t=763 Stanley Drucker], interview with [https://joffewoodwinds.com/about-ed-joffe/ Edward Joffe].

Heinrich am 30. April 2021 um 17:40 Uhr

2021-04-30T17:40:51Z

Änderungen zeigen

Heinrich: /* Didactic Process */

2021-04-25T21:27:54Z

Didactic Process

← Nächstältere Version		Version vom 25. April 2021, 23:27 Uhr
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	Keith Stein<ref name = stein>Stein, Keith. 1958. The art of clarinet playing. Evanston, Ill: Summy-Birchard [https://idoc.pub/documents/keith-stein-the-art-of-clarinet-playing-8jlkx8zpd845]</ref> demands the isolated learning and mastery of the following parameters of clarinet technique before reed articulation can be used successfully:		Keith Stein<ref name = stein>Stein, Keith. 1958. The art of clarinet playing. Evanston, Ill: Summy-Birchard [https://idoc.pub/documents/keith-stein-the-art-of-clarinet-playing-8jlkx8zpd845]</ref> demands the isolated learning and mastery of the following parameters of clarinet technique before reed articulation can be used successfully:
	*[[Embouchure]]		*[[Embouchure]]
	*[[~~Brearthing~~#Airflow\|Airflow]]		*[[Breathing#Airflow\|Airflow]]
	*[[Breathing#Breath Support]]		*[[Breathing#Breath Support]]
	*[[Embouchure#Embouchure Line\|Embouchure line]]		*[[Embouchure#Embouchure Line\|Embouchure line]]

Heinrich: /* Attack */

2021-04-25T21:27:12Z

Attack

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	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

	=Attack=		=Attack=Ultimately, the know-how of reliable tone production and problem-free attack of individual notes is an important prerequisite for developing rhythmic conciseness, richly varied articulation, and dynamically flexible playing. The literature for clarinet presents the following challenges:

	Ultimately, the know-how of reliable tone production and problem-free attack of individual notes is an important prerequisite for developing rhythmic conciseness, richly varied articulation, and dynamically flexible playing. The literature for clarinet presents the following challenges:
	*Attack can be performed reliably at any pitch and register and at any dynamic level.		*Attack can be performed reliably at any pitch and register and at any dynamic level.
	*The manner of attack - harder or softer, "dal niente" (beginning from nothing) or with a certain sharpness - must be variable and adaptable to the character of the piece.		*The manner of attack - harder or softer, "dal niente" (beginning from nothing) or with a certain sharpness - must be variable and adaptable to the character of the piece.
	*Intonation and timbre should already be stable at the moment of attack and not only settle down as the tone progresses.		*Intonation and timbre should already be stable at the moment of attack and not only settle down as the tone progresses.
	==Didactic Process==*		==Didactic Process==
	Keith Stein<ref name = stein>Stein, Keith. 1958. The art of clarinet playing. Evanston, Ill: Summy-Birchard [https://idoc.pub/documents/keith-stein-the-art-of-clarinet-playing-8jlkx8zpd845]</ref> demands the isolated learning and mastery of the following parameters of clarinet technique before reed articulation can be used successfully:		Keith Stein<ref name = stein>Stein, Keith. 1958. The art of clarinet playing. Evanston, Ill: Summy-Birchard [https://idoc.pub/documents/keith-stein-the-art-of-clarinet-playing-8jlkx8zpd845]</ref> demands the isolated learning and mastery of the following parameters of clarinet technique before reed articulation can be used successfully:
	*[[Embouchure]]		*[[Embouchure]]
	*[[Brearthing#Airflow\|Airflow]]		*[[Brearthing#Airflow\|Airflow]]
	*[[~~Brearthing~~#Breath Support~~\|Breath support~~]]		*[[Breathing#Breath Support]]
	*[[Embouchure#Embouchure ~~line~~\|Embouchure line]]		*[[Embouchure#Embouchure Line\|Embouchure line]]
	*[[Embouchure#Embouchure ~~pressure~~\|Embouchure pressure]] and selection of the most favorable blowing angle		*[[Embouchure#Embouchure Pressure\|Embouchure pressure]] and selection of the most favorable blowing angle
	*[[Reed and Mouthpiece]], selection and maintenance, reed cutting and balancing		*[[Reed and Mouthpiece]], selection and maintenance, reed cutting and balancing
	*[[Voicing#Awareness of voicing\|Awareness of voicing]] in terms of tongue shape, position, and activity, and of the shaping of the throat and soft palate		*[[Voicing#Awareness of voicing\|Awareness of voicing]] in terms of tongue shape, position, and activity, and of the shaping of the throat and soft palate

Heinrich: /* Attack */

2021-04-25T21:26:02Z

Attack

← Nächstältere Version		Version vom 25. April 2021, 23:26 Uhr
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	Ultimately, the know-how of reliable tone production and problem-free attack of individual notes is an important prerequisite for developing rhythmic conciseness, richly varied articulation, and dynamically flexible playing. The literature for clarinet presents the following challenges:		Ultimately, the know-how of reliable tone production and problem-free attack of individual notes is an important prerequisite for developing rhythmic conciseness, richly varied articulation, and dynamically flexible playing. The literature for clarinet presents the following challenges:
			*Attack can be performed reliably at any pitch and register and at any dynamic level.
	* ~~Aufgezählter Listeneintrag~~
	Attack can be performed reliably at any pitch and register and at any dynamic level.
	*The manner of attack - harder or softer, "dal niente" (beginning from nothing) or with a certain sharpness - must be variable and adaptable to the character of the piece.		*The manner of attack - harder or softer, "dal niente" (beginning from nothing) or with a certain sharpness - must be variable and adaptable to the character of the piece.
	*Intonation and timbre should already be stable at the moment of attack and not only settle down as the tone progresses.		*Intonation and timbre should already be stable at the moment of attack and not only settle down as the tone progresses.
Zeile 262:		Zeile 260:
	Keith Stein<ref name = stein>Stein, Keith. 1958. The art of clarinet playing. Evanston, Ill: Summy-Birchard [https://idoc.pub/documents/keith-stein-the-art-of-clarinet-playing-8jlkx8zpd845]</ref> demands the isolated learning and mastery of the following parameters of clarinet technique before reed articulation can be used successfully:		Keith Stein<ref name = stein>Stein, Keith. 1958. The art of clarinet playing. Evanston, Ill: Summy-Birchard [https://idoc.pub/documents/keith-stein-the-art-of-clarinet-playing-8jlkx8zpd845]</ref> demands the isolated learning and mastery of the following parameters of clarinet technique before reed articulation can be used successfully:
	*[[Embouchure]]		*[[Embouchure]]
	[[Brearthing#Airflow\|Airflow]]		*[[Brearthing#Airflow\|Airflow]]
	[[Brearthing#Breath ~~support~~\|Breath support]]		*[[Brearthing#Breath Support\|Breath support]]
	[[Embouchure#Embouchure line\|Embouchure line]]		*[[Embouchure#Embouchure line\|Embouchure line]]
	[[Embouchure#Embouchure pressure\|Embouchure pressure]] and selection of the most favorable blowing angle		*[[Embouchure#Embouchure pressure\|Embouchure pressure]] and selection of the most favorable blowing angle
	*[[Reed and Mouthpiece]], selection and maintenance, reed cutting and balancing		*[[Reed and Mouthpiece]], selection and maintenance, reed cutting and balancing
	*[[Voicing#Awareness of voicing\|Awareness of voicing]] in terms of tongue shape, position, and activity, and of the shaping of the throat and soft palate		*[[Voicing#Awareness of voicing\|Awareness of voicing]] in terms of tongue shape, position, and activity, and of the shaping of the throat and soft palate

Heinrich: /* Attack */

2021-04-25T21:24:24Z

Attack

← Nächstältere Version		Version vom 25. April 2021, 23:24 Uhr
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	Ultimately, the know-how of reliable tone production and problem-free attack of individual notes is an important prerequisite for developing rhythmic conciseness, richly varied articulation, and dynamically flexible playing. The literature for clarinet presents the following challenges:		Ultimately, the know-how of reliable tone production and problem-free attack of individual notes is an important prerequisite for developing rhythmic conciseness, richly varied articulation, and dynamically flexible playing. The literature for clarinet presents the following challenges:

			* Aufgezählter Listeneintrag
	Attack can be performed reliably at any pitch and register and at any dynamic level.		Attack can be performed reliably at any pitch and register and at any dynamic level.
	The manner of attack - harder or softer, "dal niente" (beginning from nothing) or with a certain sharpness - must be variable and adaptable to the character of the piece.		*The manner of attack - harder or softer, "dal niente" (beginning from nothing) or with a certain sharpness - must be variable and adaptable to the character of the piece.
	Intonation and timbre should already be stable at the moment of attack and not only settle down as the tone progresses.		*Intonation and timbre should already be stable at the moment of attack and not only settle down as the tone progresses.
			==Didactic Process==*
	==Didactic Process==		Keith Stein<ref name = stein>Stein, Keith. 1958. The art of clarinet playing. Evanston, Ill: Summy-Birchard [https://idoc.pub/documents/keith-stein-the-art-of-clarinet-playing-8jlkx8zpd845]</ref> demands the isolated learning and mastery of the following parameters of clarinet technique before reed articulation can be used successfully:
			*[[Embouchure]]
	Keith Stein [7] demands the isolated learning and mastery of the following parameters of clarinet technique before reed articulation can be used successfully:		[[Brearthing#Airflow\|Airflow]]
			[[Brearthing#Breath support\|Breath support]]
	Embouchure		[[Embouchure#Embouchure line\|Embouchure line]]
	Airflow		[[Embouchure#Embouchure pressure\|Embouchure pressure]] and selection of the most favorable blowing angle
	Breath support		*[[Reed and Mouthpiece]], selection and maintenance, reed cutting and balancing
	Embouchure line		*[[Voicing#Awareness of voicing\|Awareness of voicing]] in terms of tongue shape, position, and activity, and of the shaping of the throat and soft palate
	Embouchure pressure and selection of the most favorable blowing angle		A "dal' nietete" attack is considered a specific characteristic of the clarinet. [https://youtu.be/MU9e8P5Dkd0?t=2505 Ron Odrich] (2017)<ref>Odrich, Ron (2017). Science in the Art of the Legato. The Clarinet 44/4 (September 2017) [https://clarinet.org/2017/10/04/science-in-the-art-of-the-legato-2016-research-competition-winner/#7]</ref> gives the airflow the fastest possible speed by raising the position of the tip of the tongue just in front of the reed. At the same time the throat remains open. In this model he refers to Leonardo da Vinci, [https://deacademic.com/dic.nsf/dewiki/1340486 Daniel Bernoulli], and Giovanni Battista Venturi. This playing technique can be understood with a simple experiment: if the position of the tip of the tongue changes from low (touching the one under the row of teeth) to high (directed forwards and upwards and almost touching the tip of the reed) when a tone is blown, the attack is also in ppp (see also Jerry Rife (2019), "...about sound production"<ref>Rife, Jerry (2019). An interview with Ron Odrich. The Clarinet 47/1 (December 2019)[https://clarinet.org/2019/12/16/interview-ron-odrich/]</ref>)).
	Reed and ~~mouthpiece~~, selection and maintenance, reed cutting and balancing
	Awareness of voicing in terms of tongue shape, position, and activity, and of the shaping of the throat and soft palate		[[Kategorie:Fundamentals, English]]
	A "dal' nietete" attack is considered a specific characteristic of the clarinet. Ron Odrich (2017) [17] gives the airflow the fastest possible speed by raising the position of the tip of the tongue just in front of the reed. At the same time the throat remains open. In this model he refers to Leonardo da Vinci, Daniel Bernoulli, and Giovanni Battista Venturi. This playing technique can be understood with a simple experiment: if the position of the tip of the tongue changes from low (touching the one under the row of teeth) to high (directed forwards and upwards and almost touching the tip of the reed) when a tone is blown, the attack is also in ppp (see also Jerry Rife (2019), "...about sound production"[18]).
	=References=		=References=

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]