Eli Eban - Versionsgeschichte

Fawinike am 6. April 2021 um 13:37 Uhr

2021-04-06T13:37:11Z

← Nächstältere Version		Version vom 6. April 2021, 15:37 Uhr
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	~~[[Category:Interviews in English]]~~
	{{SORTIERUNG: Eban, Eli}}		{{SORTIERUNG: Eban, Eli}}
	The interview with [https://en.wikipedia.org/wiki/Eli_Eban Eli Eban][http://www.elieban.com] orchestral soloist, recitalist, chamber musician and professor at Bloomington School of Music was held on 22 June with a telephone call from Zug, Switzerland, to Baltimore, USA and was edited by Heinrich Mätzener.		The interview with [https://en.wikipedia.org/wiki/Eli_Eban Eli Eban][http://www.elieban.com] orchestral soloist, recitalist, chamber musician and professor at Bloomington School of Music was held on 22 June with a telephone call from Zug, Switzerland, to Baltimore, USA and was edited by Heinrich Mätzener.
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	[[Kategorie:Interviews\|Eban, Eli]]		[[Kategorie:Interviews\|Eban, Eli]]
			[[Kategorie:Interviews in English\|Eban, Eli]]
	[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]		[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

Fawinike am 6. April 2021 um 13:37 Uhr

2021-04-06T13:37:00Z

← Nächstältere Version		Version vom 6. April 2021, 15:37 Uhr
Zeile 1:		Zeile 1:
	[[Category: English]]		[[Category:Interviews in English]]
	{{SORTIERUNG: Eban, Eli}}		{{SORTIERUNG: Eban, Eli}}
	The interview with [https://en.wikipedia.org/wiki/Eli_Eban Eli Eban][http://www.elieban.com] orchestral soloist, recitalist, chamber musician and professor at Bloomington School of Music was held on 22 June with a telephone call from Zug, Switzerland, to Baltimore, USA and was edited by Heinrich Mätzener.		The interview with [https://en.wikipedia.org/wiki/Eli_Eban Eli Eban][http://www.elieban.com] orchestral soloist, recitalist, chamber musician and professor at Bloomington School of Music was held on 22 June with a telephone call from Zug, Switzerland, to Baltimore, USA and was edited by Heinrich Mätzener.
Zeile 36:		Zeile 36:
	''HM. Of course. And then it depends from the reed, from the mouthpiece, from the day. I would like to speak more about the (technique of doing) an attack. I thought going from “outside” (embouchure) to “inside” (voicing).''		''HM. Of course. And then it depends from the reed, from the mouthpiece, from the day. I would like to speak more about the (technique of doing) an attack. I thought going from “outside” (embouchure) to “inside” (voicing).''

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	==Embouchure==		==Embouchure==
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	EE: That takes time and takes the awareness of not doing too much as well as you know, it is a very sensitive operation.		EE: That takes time and takes the awareness of not doing too much as well as you know, it is a very sensitive operation.

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	===Chaining of muscle activations===		===Chaining of muscle activations===
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	EE: Exactly.		EE: Exactly.

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	==Voicing==		==Voicing==
Zeile 141:		Zeile 141:
	''HM: Do you use different voicings if you play very high notes, middle range or low notes? Do you change the vowel, the tongue position, when you change the registers?''		''HM: Do you use different voicings if you play very high notes, middle range or low notes? Do you change the vowel, the tongue position, when you change the registers?''

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	===Use your ear for changing registers===		===Use your ear for changing registers===
Zeile 203:		Zeile 203:
	''HM: And now, you use different staccatos when you play, I suppose. There is not just one way, it can be shorter, or with each note having a ring? In the piano, just a non-legato. It’s nice!''		''HM: And now, you use different staccatos when you play, I suppose. There is not just one way, it can be shorter, or with each note having a ring? In the piano, just a non-legato. It’s nice!''

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	===Tonguing on the lower lip?===		===Tonguing on the lower lip?===
Zeile 212:		Zeile 212:
	EE: I will try that but, one has to ask, what is the style of music that would work well for? And perhaps, you describe a very personal way of doing something for a very certain player. I don’t know enough about the results of that, but I think anything for excellence is good!		EE: I will try that but, one has to ask, what is the style of music that would work well for? And perhaps, you describe a very personal way of doing something for a very certain player. I don’t know enough about the results of that, but I think anything for excellence is good!

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	===Anchor tonguing interferes with voicing===		===Anchor tonguing interferes with voicing===
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	''HM: Yes, we are always orientated in front. And then, just important is to hold this opening in the back and on the sides while breathing. My idea is that these muscles used for our inhaling stay in action when exhaling for tone production. Do you think it is right?''		''HM: Yes, we are always orientated in front. And then, just important is to hold this opening in the back and on the sides while breathing. My idea is that these muscles used for our inhaling stay in action when exhaling for tone production. Do you think it is right?''

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	===Balance in– and exhaling muscles during sound production===		===Balance in– and exhaling muscles during sound production===
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	EE: In a different way!		EE: In a different way!

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	==Holding the clarinet==		==Holding the clarinet==
Zeile 275:		Zeile 275:
	EE: I think thumb and index should be at about the same height.		EE: I think thumb and index should be at about the same height.

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	===Shape of the hand===		===Shape of the hand===
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	EE: Well, as you said, if the right palm is nicely arched and has a good tension, then the thumb is also curved and just I try to keep that shape. I try to keep the whole hand a certain shape instead of isolating the thumb.		EE: Well, as you said, if the right palm is nicely arched and has a good tension, then the thumb is also curved and just I try to keep that shape. I try to keep the whole hand a certain shape instead of isolating the thumb.

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	==Finger technique==		==Finger technique==
Zeile 303:		Zeile 303:
	EE: It’s very, very strong medicine and I think it should be described very carefully (laughs). I think it can come at a very, advanced stage…		EE: It’s very, very strong medicine and I think it should be described very carefully (laughs). I think it can come at a very, advanced stage…

	~~[[Kategorie:English\|Eban, Eli]]~~
	~~[[Kategorie:Interviews\|Eban, Eli]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]~~

	==Warmup==		==Warmup==
Zeile 427:		Zeile 427:
	==References==		==References==

	~~[[Kategorie:English\|Eban, Eli]]~~
	[[Kategorie:Interviews\|Eban, Eli]]		[[Kategorie:Interviews\|Eban, Eli]]
	[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]		[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

Heinrich: /* Tonguing on the lower lip? */

2021-01-01T19:37:59Z

Tonguing on the lower lip?

← Nächstältere Version		Version vom 1. Januar 2021, 21:37 Uhr
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	''HM: Some French teachers learnt to do the articulation not on the reed, but on the lower lip. And then, the tongue pushing at lip, the vibration of the reed is reduced, and in this way, we can produce a very mellow staccato. It’s a possibility to have another variation of articulation. What do you think about such special techniques?''		''HM: Some French teachers learnt to do the articulation not on the reed, but on the lower lip. And then, the tongue pushing at lip, the vibration of the reed is reduced, and in this way, we can produce a very mellow staccato. It’s a possibility to have another variation of articulation. What do you think about such special techniques?''
	<br><br>		<br><br>
	EE: I will try that ~~But~~, one has to ask, what is the style of music that would work well for? And perhaps, you describe a very personal way of doing something for a very certain player. I don’t know enough about the results of that, but I think anything for excellence is good!		EE: I will try that but, one has to ask, what is the style of music that would work well for? And perhaps, you describe a very personal way of doing something for a very certain player. I don’t know enough about the results of that, but I think anything for excellence is good!

			[[Kategorie:English\|Eban, Eli]]
			[[Kategorie:Interviews\|Eban, Eli]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

	===Anchor tonguing interferes with voicing===		===Anchor tonguing interferes with voicing===
	''HM: Anchor tonguing, another technique: the front of the tongue stays in contact with the lower teeth and then the tongue touches in the middle of the reed. I don’t know where this comes from, it was not part of the old French tradition.''		''HM: Anchor tonguing, another technique: the front of the tongue stays in contact with the lower teeth and then the tongue touches in the middle of the reed. I don’t know where this comes from, it was not part of the old French tradition.''

Heinrich: /* Always ee y, u, ɯ but never æ ʌ */

2020-12-26T19:39:05Z

Always ee y, u, ɯ but never æ ʌ

← Nächstältere Version		Version vom 26. Dezember 2020, 21:39 Uhr
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	''HM: How would you describe the term voicing in connection with the sound production on the clarinet? When we go inside the mouth, we talk about position of tongue, but voicing is differently understood. Does it only concern the position and shape of the tongue, or also the entire mouth cavity and the vocal apparatus?''		''HM: How would you describe the term voicing in connection with the sound production on the clarinet? When we go inside the mouth, we talk about position of tongue, but voicing is differently understood. Does it only concern the position and shape of the tongue, or also the entire mouth cavity and the vocal apparatus?''
	<br><br>		<br><br>
	===Always ~~ee y~~, u, ɯ but never æ ʌ===		===Always i, j, ɯ, y but never æ or ʌ===
	EE: I think when all is said and done, it’s the overall shape and size of the oral cavity, that determines what vowel shapes the sound, is what is coming out of the clarinet what I’m trying to put into the clarinet? So, for me, voicing, a well voiced clarinet sound is always ~~i y~~, ~~i u~~, ~~ɯ u~~ but, for me at least, never æ or ʌ		EE: I think when all is said and done, it’s the overall shape and size of the oral cavity, that determines what vowel shapes the sound, is what is coming out of the clarinet what I’m trying to put into the clarinet? So, for me, voicing, a well voiced clarinet sound is always i, j, ɯ, y ([https://de.wikipedia.org/wiki/Liste_der_IPA-Zeichen IPA]) but, for me at least, never æ or ʌ
	(Forming our lips to a clarinet embouchure around the mouthpiece, we still can bring the tongue into positions of different vowels.		(Forming our lips to a clarinet embouchure around the mouthpiece, we still can bring the tongue into positions of different vowels.
	([https://www.pinterest.ch/pin/715087247058771517/ Vowels and the position of the tongue])		([https://www.pinterest.ch/pin/715087247058771517/ Vowels and the position of the tongue])

Heinrich: /* Always i y, i u, ɯ u, but never æ ʌ */

2020-12-25T21:40:38Z

Always i y, i u, ɯ u, but never æ ʌ

← Nächstältere Version		Version vom 25. Dezember 2020, 23:40 Uhr
Zeile 134:		Zeile 134:
	''HM: How would you describe the term voicing in connection with the sound production on the clarinet? When we go inside the mouth, we talk about position of tongue, but voicing is differently understood. Does it only concern the position and shape of the tongue, or also the entire mouth cavity and the vocal apparatus?''		''HM: How would you describe the term voicing in connection with the sound production on the clarinet? When we go inside the mouth, we talk about position of tongue, but voicing is differently understood. Does it only concern the position and shape of the tongue, or also the entire mouth cavity and the vocal apparatus?''
	<br><br>		<br><br>
	===Always i y, i u, ɯ u, but never æ ʌ===		===Always ee y, u, ɯ but never æ ʌ===
	EE: I think when all is said and done, it’s the overall shape and size of the oral cavity, that determines what vowel shapes the sound, is what is coming out of the clarinet what I’m trying to put into the clarinet? So, for me, voicing, a well voiced clarinet sound is always i y, i u, ɯ u but, for me at least, never æ or ʌ		EE: I think when all is said and done, it’s the overall shape and size of the oral cavity, that determines what vowel shapes the sound, is what is coming out of the clarinet what I’m trying to put into the clarinet? So, for me, voicing, a well voiced clarinet sound is always i y, i u, ɯ u but, for me at least, never æ or ʌ
	(Forming our lips to a clarinet embouchure around the mouthpiece, we still can bring the tongue into positions of different vowels.		(Forming our lips to a clarinet embouchure around the mouthpiece, we still can bring the tongue into positions of different vowels.
Zeile 140:		Zeile 140:
	<br><br>		<br><br>
	''HM: Do you use different voicings if you play very high notes, middle range or low notes? Do you change the vowel, the tongue position, when you change the registers?''		''HM: Do you use different voicings if you play very high notes, middle range or low notes? Do you change the vowel, the tongue position, when you change the registers?''

			[[Kategorie:English\|Eban, Eli]]
			[[Kategorie:Interviews\|Eban, Eli]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

	===Use your ear for changing registers===		===Use your ear for changing registers===
	EE: Yes, I don’t know if it is very conscious or if it just happens when I’m able to go to a high register with a legato good sound, then I know there is some small changes. I would hope that it would happen naturally, from the ear, looking for a certain color or “magic” in the sound.		EE: Yes, I don’t know if it is very conscious or if it just happens when I’m able to go to a high register with a legato good sound, then I know there is some small changes. I would hope that it would happen naturally, from the ear, looking for a certain color or “magic” in the sound.

Heinrich: /* Shape of the hand */

2020-08-18T17:05:03Z

Shape of the hand

← Nächstältere Version		Version vom 18. August 2020, 19:05 Uhr
Zeile 273:		Zeile 273:
	<br><br>		<br><br>
	EE: Well, as you said, if the right palm is nicely arched and has a good tension, then the thumb is also curved and just I try to keep that shape. I try to keep the whole hand a certain shape instead of isolating the thumb.		EE: Well, as you said, if the right palm is nicely arched and has a good tension, then the thumb is also curved and just I try to keep that shape. I try to keep the whole hand a certain shape instead of isolating the thumb.

			[[Kategorie:English\|Eban, Eli]]
			[[Kategorie:Interviews\|Eban, Eli]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

	==Finger technique==		==Finger technique==
	''HM: Bonade describes in his method a special way of moving the fingers. He wanted us to make really very big motions. What is the purpose of these big movements? Do you use this technique?''		''HM: Bonade describes in his method a special way of moving the fingers. He wanted us to make really very big motions. What is the purpose of these big movements? Do you use this technique?''

Heinrich: /* Be conscious about all details, but don’t forget to relax */

2020-08-18T15:23:14Z

Be conscious about all details, but don’t forget to relax

← Nächstältere Version		Version vom 18. August 2020, 17:23 Uhr
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	''HM: Very good picture!''		''HM: Very good picture!''
	<br><br>		<br><br>
	EE: That takes time and takes the awareness of not doing too much as well as you know, it is a very sensitive operation.		EE: That takes time and takes the awareness of not doing too much as well as you know, it is a very sensitive operation.

			[[Kategorie:English\|Eban, Eli]]
			[[Kategorie:Interviews\|Eban, Eli]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

	===Chaining of muscle activations===		===Chaining of muscle activations===
	''HM: As Keith Stein describes it, the chin is not relaxed, but there is some tension downwards.''		''HM: As Keith Stein describes it, the chin is not relaxed, but there is some tension downwards.''

Heinrich: /* Position of the thumb rest */

2020-08-18T15:06:30Z

Position of the thumb rest

← Nächstältere Version		Version vom 18. August 2020, 17:06 Uhr
Zeile 260:		Zeile 260:
	EE: I think thumb and index should be at about the same height.		EE: I think thumb and index should be at about the same height.

			[[Kategorie:English\|Eban, Eli]]
			[[Kategorie:Interviews\|Eban, Eli]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

	===Shape of the hand===		===Shape of the hand===

Heinrich: /* Finger technique */

2020-08-07T13:27:41Z

Finger technique

← Nächstältere Version		Version vom 7. August 2020, 15:27 Uhr
Zeile 282:		Zeile 282:
	<br><br>		<br><br>
	EE: It’s very, very strong medicine and I think it should be described very carefully (laughs). I think it can come at a very, advanced stage…		EE: It’s very, very strong medicine and I think it should be described very carefully (laughs). I think it can come at a very, advanced stage…

			[[Kategorie:English\|Eban, Eli]]
			[[Kategorie:Interviews\|Eban, Eli]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

	==Warmup==		==Warmup==
	''HM: What you do as warm up exercises? I suppose you are changing between different models. Do you do long sustained notes, then go into scales and Arpeggios? What would you say has to be done every day?''		''HM: What you do as warm up exercises? I suppose you are changing between different models. Do you do long sustained notes, then go into scales and Arpeggios? What would you say has to be done every day?''

Heinrich: /* The beginning of the sound as part oft the aesthetic concept */

2020-07-31T07:25:34Z

The beginning of the sound as part oft the aesthetic concept

← Nächstältere Version		Version vom 31. Juli 2020, 09:25 Uhr
Zeile 32:		Zeile 32:
	''HM: I think, making attack can be high artistry. You can do with the beginning of the sound different colors. Do you see it in the same way? Do you use different ways to attack a sound''?		''HM: I think, making attack can be high artistry. You can do with the beginning of the sound different colors. Do you see it in the same way? Do you use different ways to attack a sound''?
	<br><br>		<br><br>
	EE. Yes, like different textures to the tongue, different contact but mostly something different in the ear, different consonant/vowel combination- like a vocalist. I mean I try to do that or share with you that I find this is the hardest thing to do, just to get an even attack in ~~fall~~ dynamics and all registers.		EE. Yes, like different textures to the tongue, different contact but mostly something different in the ear, different consonant/vowel combination- like a vocalist. I mean I try to do that or share with you that I find this is the hardest thing to do, just to get an even attack in all dynamics and all registers.
	<br><br>		<br><br>
	''HM. Of course. And then it depends from the reed, from the mouthpiece, from the day. I would like to speak more about the (technique of doing) an attack. I thought going from “outside” (embouchure) to “inside” (voicing).''		''HM. Of course. And then it depends from the reed, from the mouthpiece, from the day. I would like to speak more about the (technique of doing) an attack. I thought going from “outside” (embouchure) to “inside” (voicing).''

			[[Kategorie:English\|Eban, Eli]]
			[[Kategorie:Interviews\|Eban, Eli]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Eban, Eli]]

	==Embouchure==		==Embouchure==