Klarinet Archive - Posting 000373.txt from 1994/02

From: "Dan Leeson: LEESON@-----.EDU>
Subj: Doubling
Date: Fri, 25 Feb 1994 10:49:06 -0500

The issue of doubling has arisen. When I was 20 or so, I was of
the opinion (based on nothing but overheard comments on the
street) that doubling was bad for the clarinetist's overall
legitimate playing. (As a side issue, I mean nothing perjorative
with use of the word "legitimate" but I do not know what to call
non-jazz, non-folk music clarinet playing other than "legitimate
playing." Anyone have a better and less insulting expression?)

So when I chose to deal in symphonic and chamber music repertoire
only, I gave up the saxophone and have not played one in something
like 35 years.

My friend, Herb Blayman, formerly first clarinet with the Metropolitan
Opera, was a fabled clarinet/saxophone doubler and a great jazz
player. On getting the Met job he put away his tenor and has not
played it since.

On the other hand, a guy like Jimmy Abato (recently retired clarinet
and bass clarinet, Metropolitan Opera) was a fabulous saxophone
player and a clarinetist of great,even remarkable,artistry. Whenever
I would play at the Met as a sub, his playing amazed me most for
its beauty. It certainly does not sound to me as if Jimmy's saxophone
playing ever hurt his clarinet playing.

So I have come to wonder about the accuracy and validity of the old
wive's tales with respect to sax/clarinet doubling.

First: are they still around? (i.e.,"Don't play sax if you intend to
play legitimate clarinet; the sax embrochure will injure your clarinet
embrochure and you will sound lousy", etc. etc.)

Second: is there any truth to these assertions?

Third: are serious legitimate saxophone players told not to play
clarinet for the same reasons?

And finally: if there is any truth to these statements (which I began
to doubt the first time I heard Jimmy Abato play), what would be the
underlying theoretical reason behind them?

I suppose that one could expand this to consider the issue of flute
playing and its impact (if any) on clarinet playing but let's keep
it simple for the moment, namely sax/clarinet doubling.

====================================
Dan Leeson, Los Altos, California
(leeson@-----.edu)
====================================

   
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