John Moses - Versionsgeschichte

Fawinike am 6. April 2021 um 13:38 Uhr

2021-04-06T13:38:52Z

← Nächstältere Version		Version vom 6. April 2021, 15:38 Uhr
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	{{SORTIERUNG:Moses, John}}		{{SORTIERUNG:Moses, John}}
	~~[[Category:Interviews in English]]~~
	The Interview with [http://www.johnmosesclarinet.com John Moses], woodwind specialist, lecturer and educator took place on June 7th, 2019 at the Gershwin Theatre in New York and was edited by Heinrich Mätzener.		The Interview with [http://www.johnmosesclarinet.com John Moses], woodwind specialist, lecturer and educator took place on June 7th, 2019 at the Gershwin Theatre in New York and was edited by Heinrich Mätzener.
	<references />		<references />
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	[[Kategorie:Interviews\|Moses, John]]		[[Kategorie:Interviews\|Moses, John]]
			[[Kategorie:Interviews in English\|Moses, John]]

Fawinike am 6. April 2021 um 13:38 Uhr

2021-04-06T13:38:43Z

← Nächstältere Version		Version vom 6. April 2021, 15:38 Uhr
Zeile 1:		Zeile 1:
	{{SORTIERUNG:Moses, John}}		{{SORTIERUNG:Moses, John}}
			[[Category:Interviews in English]]
	The Interview with [http://www.johnmosesclarinet.com John Moses], woodwind specialist, lecturer and educator took place on June 7th, 2019 at the Gershwin Theatre in New York and was edited by Heinrich Mätzener.		The Interview with [http://www.johnmosesclarinet.com John Moses], woodwind specialist, lecturer and educator took place on June 7th, 2019 at the Gershwin Theatre in New York and was edited by Heinrich Mätzener.
	<references />		<references />
Zeile 126:		Zeile 126:
	JM: Of course! And it does make a special effect. When I do [https://www.youtube.com/watch?v=VAuTouBhN5k Rhapsody in Blue], quite often I start very close to my body and I push the clarinet out as I slide off the keys and lift the clarinet, you know. Never parallel to the floor, but I lift it because theatrically everyone is looking at you and the conductor gives you a gesture, so you kind of respond to that and you make it sing. But you don’t have to do that. Many of the jig clarinet players sit tight and hope it doesn’t squeak! I, on the other hand, I’ve done it so many times, now it’s not a problem; I just do it and it comes out. So I can be a little theatrical.		JM: Of course! And it does make a special effect. When I do [https://www.youtube.com/watch?v=VAuTouBhN5k Rhapsody in Blue], quite often I start very close to my body and I push the clarinet out as I slide off the keys and lift the clarinet, you know. Never parallel to the floor, but I lift it because theatrically everyone is looking at you and the conductor gives you a gesture, so you kind of respond to that and you make it sing. But you don’t have to do that. Many of the jig clarinet players sit tight and hope it doesn’t squeak! I, on the other hand, I’ve done it so many times, now it’s not a problem; I just do it and it comes out. So I can be a little theatrical.

	~~[[Kategorie:English\|Moses, John]]~~
	~~[[Kategorie:Interviews\|Moses, John]]~~

	===Pointing the chin?===		===Pointing the chin?===
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	I’m just saying the way I’m doing this: (shows) and you get “ka, ka,” as short as “ta, ta,” so the back of the tongue against the hard palate is the “ka,” and this should sound the same as “ta.” You’re going [to work]: ka, ka, ka. You have to close off the air column with the back of the tongue, or the center of the tongue like you close it up with your tip [of the tongue at the reed]. But the “ka” has to be as short as the ta. It usually comes as “ta-kaa-ta-kaa.”		I’m just saying the way I’m doing this: (shows) and you get “ka, ka,” as short as “ta, ta,” so the back of the tongue against the hard palate is the “ka,” and this should sound the same as “ta.” You’re going [to work]: ka, ka, ka. You have to close off the air column with the back of the tongue, or the center of the tongue like you close it up with your tip [of the tongue at the reed]. But the “ka” has to be as short as the ta. It usually comes as “ta-kaa-ta-kaa.”

	~~[[Kategorie:English\|Moses, John]]~~
	~~[[Kategorie:Interviews\|Moses, John]]~~

	==Voicing==		==Voicing==
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	JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [[https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx.]		JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [[https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx.]

	~~[[Kategorie:English\|Moses, John]]~~
	~~[[Kategorie:Interviews\|Moses, John]]~~

	==Legato fingers==		==Legato fingers==
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	==References==		==References==

	~~[[Kategorie:English\|Moses, John]]~~
	[[Kategorie:Interviews\|Moses, John]]		[[Kategorie:Interviews\|Moses, John]]

Heinrich: /* Double tonguing */

2020-12-29T19:33:25Z

Double tonguing

← Nächstältere Version		Version vom 29. Dezember 2020, 21:33 Uhr
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	===Double tonguing===		===Double tonguing===
	''HM: When you teach double tonguing: to have on upper register also good results. I think it’s quite difficult.''		''HM: When you teach double tonguing: to have on upper register also good results. I think it’s quite difficult.''
	<br<>br>		<br>
			<br>
	JM: Not, it is! And there are four or five different techniques of double tonguing. I only teach the one I know. There is a guy here, in our orchestra, who can double a triple tongue, and he uses a completely different technique. He’s doing a throat thing: he’s closing and opening his throat it very fast [changing with the tongue attack on the reed, like: “ta-gha-ta-gha.” I don’t know how to do that. I’m not promoting it.		JM: Not, it is! And there are four or five different techniques of double tonguing. I only teach the one I know. There is a guy here, in our orchestra, who can double a triple tongue, and he uses a completely different technique. He’s doing a throat thing: he’s closing and opening his throat it very fast [changing with the tongue attack on the reed, like: “ta-gha-ta-gha.” I don’t know how to do that. I’m not promoting it.
	<br>		<br>

Heinrich: /* Voicing */

2020-12-20T14:45:19Z

Voicing

← Nächstältere Version		Version vom 20. Dezember 2020, 16:45 Uhr
Zeile 241:		Zeile 241:
	'''EXERCISE'''		'''EXERCISE'''
	<br>		<br>
	JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [[https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx].		JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [[https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx.]

	[[Kategorie:English\|Moses, John]]		[[Kategorie:English\|Moses, John]]

Heinrich: /* Voicing */

2020-12-20T14:44:59Z

Voicing

← Nächstältere Version		Version vom 20. Dezember 2020, 16:44 Uhr
Zeile 241:		Zeile 241:
	'''EXERCISE'''		'''EXERCISE'''
	<br>		<br>
	JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys.[ [https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx].		JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [[https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx].

	[[Kategorie:English\|Moses, John]]		[[Kategorie:English\|Moses, John]]

Heinrich: /* Voicing */

2020-12-20T14:44:46Z

Voicing

← Nächstältere Version		Version vom 20. Dezember 2020, 16:44 Uhr
Zeile 241:		Zeile 241:
	'''EXERCISE'''		'''EXERCISE'''
	<br>		<br>
	JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx].		JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys.[ [https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx].

	[[Kategorie:English\|Moses, John]]		[[Kategorie:English\|Moses, John]]

Heinrich: /* Voicing */

2020-11-07T11:27:41Z

Voicing

← Nächstältere Version		Version vom 7. November 2020, 13:27 Uhr
Zeile 241:		Zeile 241:
	'''EXERCISE'''		'''EXERCISE'''
	<br>		<br>
	JM: Joe played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx].		JM: Joe Allard played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx].

	[[Kategorie:English\|Moses, John]]		[[Kategorie:English\|Moses, John]]

Heinrich: /* Voicing */

2020-11-07T11:27:01Z

Voicing

← Nächstältere Version		Version vom 7. November 2020, 13:27 Uhr
Zeile 240:		Zeile 240:
	<br><br>		<br><br>
	'''EXERCISE'''		'''EXERCISE'''
	JM: Joe played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [ [https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx]		<br>
			JM: Joe played harmonics (sings, begins with the 12th, then plays the basic), on open G, you get a D, a flat high D, the 12th (sings D - G). You get it by changing your vocal cords, your larynx. And your larynx moves as you need the high note. You don’t make it move. Playing that note, it just goes (sings “C#3, F#1”, C3 natural, F1 natural); it jumps to the 12th. So you’re playing an F and do the overtone in high C, but very flat. If you use the register key, that’s in tune. That’s why we have registered keys. [https://youtu.be/K-0N7XETP5M?t=43 Joe Allard] also uses different embouchure lines for high and lower notes, in combination with the flexibility in the larynx].

			[[Kategorie:English\|Moses, John]]
			[[Kategorie:Interviews\|Moses, John]]

	==Legato fingers==		==Legato fingers==
	JM: I think what Bonade did, and what Joe taught us: he had this flexibility of fingers, so the fingers actually extend slightly first and then come down. If you have time to do that, for a legato, certainly do that! It’s a kind of squeezing a tennis ball idea. So you’re squeezing the keys instead of slapping. It was that slap technique that was very Germanic at one time: click, click, you heard the keys, like a typewriter. I think Bonade and Joe and a lot of players of the French school believed in this, just squeezing the keys as if they had a tennis ball, instead of slapping.		JM: I think what Bonade did, and what Joe taught us: he had this flexibility of fingers, so the fingers actually extend slightly first and then come down. If you have time to do that, for a legato, certainly do that! It’s a kind of squeezing a tennis ball idea. So you’re squeezing the keys instead of slapping. It was that slap technique that was very Germanic at one time: click, click, you heard the keys, like a typewriter. I think Bonade and Joe and a lot of players of the French school believed in this, just squeezing the keys as if they had a tennis ball, instead of slapping.

Heinrich: /* Control the sound by choosing angle clarinet/body */

2020-08-30T12:16:23Z

Control the sound by choosing angle clarinet/body

← Nächstältere Version		Version vom 30. August 2020, 14:16 Uhr
Zeile 125:		Zeile 125:
	<br><br>		<br><br>
	JM: Of course! And it does make a special effect. When I do [https://www.youtube.com/watch?v=VAuTouBhN5k Rhapsody in Blue], quite often I start very close to my body and I push the clarinet out as I slide off the keys and lift the clarinet, you know. Never parallel to the floor, but I lift it because theatrically everyone is looking at you and the conductor gives you a gesture, so you kind of respond to that and you make it sing. But you don’t have to do that. Many of the jig clarinet players sit tight and hope it doesn’t squeak! I, on the other hand, I’ve done it so many times, now it’s not a problem; I just do it and it comes out. So I can be a little theatrical.		JM: Of course! And it does make a special effect. When I do [https://www.youtube.com/watch?v=VAuTouBhN5k Rhapsody in Blue], quite often I start very close to my body and I push the clarinet out as I slide off the keys and lift the clarinet, you know. Never parallel to the floor, but I lift it because theatrically everyone is looking at you and the conductor gives you a gesture, so you kind of respond to that and you make it sing. But you don’t have to do that. Many of the jig clarinet players sit tight and hope it doesn’t squeak! I, on the other hand, I’ve done it so many times, now it’s not a problem; I just do it and it comes out. So I can be a little theatrical.

			[[Kategorie:English\|Moses, John]]
			[[Kategorie:Interviews\|Moses, John]]

	===Pointing the chin?===		===Pointing the chin?===
	''HM: We talked about upper and lower lip. How do you form your chin?''		''HM: We talked about upper and lower lip. How do you form your chin?''

Heinrich: /* use the back or the center of the tongue */

2020-06-24T15:54:19Z

use the back or the center of the tongue

← Nächstältere Version		Version vom 24. Juni 2020, 17:54 Uhr
Zeile 226:		Zeile 226:
	JM: Not, it is! And there are four or five different techniques of double tonguing. I only teach the one I know. There is a guy here, in our orchestra, who can double a triple tongue, and he uses a completely different technique. He’s doing a throat thing: he’s closing and opening his throat it very fast [changing with the tongue attack on the reed, like: “ta-gha-ta-gha.” I don’t know how to do that. I’m not promoting it.		JM: Not, it is! And there are four or five different techniques of double tonguing. I only teach the one I know. There is a guy here, in our orchestra, who can double a triple tongue, and he uses a completely different technique. He’s doing a throat thing: he’s closing and opening his throat it very fast [changing with the tongue attack on the reed, like: “ta-gha-ta-gha.” I don’t know how to do that. I’m not promoting it.
	<br>		<br>
	====~~use~~ the back or the center of the tongue====		====Use the back or the center of the tongue====
	I’m just saying the way I’m doing this: (shows) and you get “ka, ka,” as short as “ta, ta,” so the back of the tongue against the hard palate is the “ka,” and this should sound the same as “ta.” You’re going [to work]: ka, ka, ka. You have to close off the air column with the back of the tongue, or the center of the tongue like you close it up with your tip [of the tongue at the reed]. But the “ka” has to be as short as the ta. It usually comes as “ta-kaa-ta-kaa.”		I’m just saying the way I’m doing this: (shows) and you get “ka, ka,” as short as “ta, ta,” so the back of the tongue against the hard palate is the “ka,” and this should sound the same as “ta.” You’re going [to work]: ka, ka, ka. You have to close off the air column with the back of the tongue, or the center of the tongue like you close it up with your tip [of the tongue at the reed]. But the “ka” has to be as short as the ta. It usually comes as “ta-kaa-ta-kaa.”

			[[Kategorie:English\|Moses, John]]
			[[Kategorie:Interviews\|Moses, John]]

	==Voicing==		==Voicing==
	''HM: About voicing. When you have to sing in high registers, you have the same position…''		''HM: About voicing. When you have to sing in high registers, you have the same position…''