Klarinet Archive - Posting 000107.txt from 1994/08

From: Christopher Zello <en444@-----.EDU>
Subj: Misc.
Date: Fri, 26 Aug 1994 23:43:44 -0400

After two months of not being around I discovered that my
subscription to the Klarinet had not been cancelled--since I used
the wrong command. I got back in town to over 300 messages.
But I did drop out of the race for about the last month. But,
I am back now for the duration of at least the school year.

After reviewing a lot of mail in a very short time, I was brought
up to date in a very short time. But by missing the last month's
worth of Klarinet talk, my comments may seem irrevalant--
please bear with me.

A few people mentioned solutions for getting young students into
the upper register, and I agree with the one getting the kids
to skip a 12th by slurring.

At present I am now living in Milwaukee (hence the different
tag address of mine from the opening "From:" portion--the
either address will work though) and in order to pick up a few
bucks, I will be teaching a clarinet fundamentals class at
the Univ. As apart of the course I have to devote some of the
time discussing beginner's texts. Basically, everyone needs
to get the kids interested and get results for their
program longevity. A lot of the newest beginner texts do have
the clarinet book NOT discussing "the break" and do have them
slurring up the 12th.

Not to put in an unsolicited commented, but there was an
article many year's back in the Selmer Bandwagon magazine,
by Carmine Campione entitled Clarinet Embouchure--Again;
Publ. #71, from March 1974. From studying under him for
a spell I had to read and do everything that was in his
article. This was great stuff. He had studied with Joe
Allard, and this article was laced with info. on harmonics
and single/double lip. I am having trouble locating this
article and wanted to use it for my class starting Sept.
1st. Does anyone have this? Could you FAX it to me at
414-963-4701. It was around 6 pages long.

Overall, young students will have a heck of a time getting
the upper register out if they don't have a decent
mouthpiece. Scrap the "GoldenTone." I have heard bad
things as well about the new (post-1970) Selmer HS*
mouthpieces (or are the HS** any good??) . I've had
a lot of luck with the Vandoren B45 and other medium
facings like the Hite Premiere. Others??

A trick I heard this summer and something I remember
Campione telling me (but that I'd forgotten) was to
crow the mouthpiece. The pitch should match a high D
on the clarinet (space above 2 ledger lines on the staff).
If there isn't enough pressure (air and embouchure!!),
then the pitch will sound below the high D and the kids
won't get many notes above an upper register G.

I'm sure many people on this board have much more experience
that I, and I'd like to hear their tricks. . .

As far as the double-lip/single-lip controversy. . .
It is not true in every case that a double lip player must
sit down and play. You just have to be in great shape
because all of the pressure rests on your right thumb.
Case and point--John Bruce Yeh. I can't tell you all
the times I was reprimanded in lessons for preparing a
Concerto and then proceeding to sit down.

There are a few things you can do to help your lip balance
and avoid that "flabby tone." Try tilting the right hand
in AND up. As for the additional right hand strain, have
your thumb rests moved up. A friend of mine who studies
with Gigliotti in Philly said he was told to move the
thumb rest up so height matches the middle of the RH
first finger. This was a dream come true for me.

--
Christopher Zello czello@-----.edu