Klarinet Archive - Posting 000164.txt from 1994/12

From: Christopher Avery u <aver0420@-----.CA>
Subj: Re: Practice Reeds
Date: Sat, 10 Dec 1994 18:30:14 -0500

> literature, what about using these 'practice reeds' for scales, or
> etudes? After you've 'paid your dues' on the technical stuff, then
> go back and put the good reed on, and play through your solo
> literature?
>

Well, I must disagree on this. I think that much development of
sound and 'technical stuff' is accomplished through the use of scales.
I was a baaaad boy, I never really started formally learning my scales,
arps, intervals , etc until a few months ago. (Baermann book, ugh)
However, it has made dramatic improvement in my playing. (Don't you hate
it when your teacher is right) From the mouth of James Campbell (sp? I'm
awful with names) himself when he did masterclass this way on Nov 25th,
scales are the most important part of developing not only smooth
technique, but also ones sound. I thought about it, and agree. During
the drudgery of scalar work, one really does not have to concentrate on
musicality, dynamics(other than consistency) or any of that other musical
stuff. It gives one a gorgeous opportunity to concentrate fully upon
ones sound and the technical aspects of it in particular. Apparently I
had a problem with my upper lip slipping out, and in order to solve it I
had to relearn aspects of my emb. Now, we all know that if we try to
actively think about the physical aspects of playing, it's next to
impossible to make a sound, let alone play a scale or two. It's like
walking, you can't just think about what each individual musicle group is
doing, you'll fall flat down. (Run down the stairs and think of where
each foot is. You'll see what I mean. P.S. hold the rail!!) Anyway,
clarinet "basics" are the same thing. The concepts of hand position,
technique and sound are all subconscious habits. In order to repair a
sound problem, it must be possible to concentrate slowly upon sound to
the exclusion of other stuff, and then through conscious intelligent
repetition (I DONT mean 5 hrs of mindless drilling) committed to the
unconscious. What the hell does this have to do with reeds? Well, when
making adjustments to the emb. that is often taken for granted, it is a
real mental effort to change, and you have to know the results of
change. If the reed is not of playing quality, then it is not possible
to realistically assess what the changes are doing to your sound.
Therefore, it is of the utmost imortance to use proper reeds at all
time. The drilling of scales cannot be viewed as such. It must be a
conscious well thought out process. This mental process seems to to work
for all tech aspects as well (Fingers to heavy, too soft, too high blah
blah blah). Ones Baermann book is where we learn our relfexive
technique, but in order for it to be clean, it can't just be sloughed
off. At least not for me to learn it. (Maybe I'm just thick, he he he)
Any response is as always welcome, I'm learning quite a bit from this board.

Chris Avery
2nd yr orch. perf
Wilfrid Laurier University

P.S. Do reeds respond differently down by you southern west coasters
Dan? I'm really curious. Has anybody out there travelled/played both down
south and up here in the Great White North?

   
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