Klarinet Archive - Posting 000025.txt from 1994/06

From: Clark W Fobes <reedman@-----.COM>
Subj: Re: your mail
Date: Wed, 8 Jun 1994 13:35:05 -0400

On Wed, 8 Jun 1994 00smgeidel@-----.EDU wrote:

(Stan Geidel to Clark W Fobes)
>
> I believe there is in fact a GREAT DEAL to be said for finding good equipment
> and sticking with it. In my thinking I am including reeds, mouthpieces,
> ligatures...
>
> I am a great believer in Daniel Bonade's thinking, "Find yourself a mouthpiece
> with a medium facing and medium tip opening and LEARN HOW TO PLAY THE
CLARINET!"
>
> To clarify, I have long felt that as players we must take responsibility for
how
> we sound, and how we sound is in large measure a function of how we play as
> opposed to the equipment we play on. I have often had the experience of
letting
.........
>
> Sound is developmental, and if we give ourselves a "constant environment"
within
> which to function (that constant being the mouthpiece-reed-ligature setup) we
> can then begin to allow ourselves to develop. The first ingredient is
acquiring
> a concept of how we want to sound. Then, with the model firmly in place in
our
> "mind's ear," we can work towards realizing that goal through gradual
> adjustments in embouchure formation and embouchure "pressure" (usually a
> LESSENING of pressure!), and--importantly--of air flow. In short, find a
> flexible setup--so that it can accomodate your development--and engage
yourself
> in the process of learning to play the instrument!
>
> Comments?
>
> Stan Geidel

I agree about 95% Stan! However, a mouthpiece does influence the sound. I
agree that each of us does sound the way we sound on different equipment
equations, but a mouthpiece will have the most significant effect on that
sound.

I think the best test of a mouthpiece is does it allow you, the
performer, to do what you want. As for the "ideal" sound we all hopefully
carry around in our heads, a mouthpiece should allow you to come as close
to that as possible. As a minimum, a mouthpiece should play well in tune.

The ideal sound that I have in my head at all times and that I try to
emulate with my mouthpiece is that of Harold Wright. I don't like a "DARK"
sound. I prefer a rich sound with a good balance of fundamental and
overtones.

If you listen carefully to the many recording of the Boston Symphony or
any of the wonderful recordings of Mr. Wright in chamber music settings,
it is at once apparent that he never forced the sound. His sound , to my
ears, had the ability to project without blasting. I have always believed
that projection is a function of quality not quantity. I had the
opportunity to hear Mr. Wright live only once. It was a performance of
Beethoven's 6th at Boston's Symphony Hall ca. 1978. I will never forget
his performance.

It may seem odd that a mouthpiece maker is suggesting that one take the
approach of finding a good mouthpiece and staying with it. My philosophy,
though, is that without becoming an equipment nut it is always worthwhile
to examine other avenues.

Clark W Fobes

   
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