Klarinet Archive - Posting 000985.txt from 1995/10

From: Andrew Grenci <AGrenci@-----.COM>
Subj: Clarke Fobes on Bass Cl
Date: Thu, 26 Oct 1995 22:06:03 -0400

Like Clarke, I too began my bass clarinet playing career with the American
Wind Symphony during the years 1980 and 81. I was playing a lousy instrument
from my college instrument locker, but thus began my twisted path.

Thanks to Clarke for setting the record straight on the "pump lots of air
into the horn" method of bass clarinet playing. There is no doubt that great
breath control and volume is required of the bass clarinetist, but this is no
less true for the soprano clarinetist. As Clarke mentions, the most common
mistake clarinetists make when moving to bass clarinet is to play a reed
which is too hard and/or a mouthpiece which is too close and resistant.

My personal approach to sound on bass clarinet is, however, somewhat
different than Clarke's. I find the bass clarinet to be a very different
timbre than the soprano clarinet, and prefer to accentuate, rather than
minimize, the difference. I feel like a different musician when I play
different clarinets. My embouchure is different, tonguing is different,
voicing of pitches is different, I sit differently, my musical personality is
different, etc., etc., etc.

I was also glad to see Dan Leeson pointing out the musical personality of the
lower clarinets. Most of us tend to get bogged down with "take more
mouthpiece" or "use this type of reed". As important as these technical bits
of advice are, it all really boils down to making music in an appropriately
expressive way on the instrument we are holding in our hands at the moment.

Andy Grenci
Bass Clarinet, US Coast Guard Band
agrenci@-----.com