Klarinet Archive - Posting 000213.txt from 1996/08

From: CLARK FOBES <reedman@-----.COM>
Subj: Bass Clarinet & Neckstraps
Date: Thu, 8 Aug 1996 02:43:17 -0400

I have played bass clarinet for many years and have never played
without a strap ( except when quick changes in a doubling situation
preclude "hooking up")

I think that one of the reasons I enjoy playing bass clarinet so
much is that it is in some ways much less physically stressful than
clarinet playing, this due primarily to the support of the instrument
via a peg AND neckstrap. My approach when playing is that the
instrument when supported in this fashion literally "floats" in my
hands. With apologies to Dan, it is very difficult to play in the
altissimo register with any facility if one is stuggling to keep the
instrument in his mouth. I find that having the bass clarinet tilted at
about a 15 degree angle off of perpendicular places the mouthpiece in
my mouth at an optimum angle for a robust sound and good intonation.
The instrument, of course, wants to fall away from my body, but with
the neckstrap I have no urge to "grab" the clarinet and my hands are
very relaxed. This lack of tension in my hands seems to influence
my whole body and results in a very relaxed overall approach to the
instrument.

In addition to the peg and strap I use one further method of
stabilizing the bass clarinet - my feet!

I am fortunate that at 5'7" I can play my Low C Bass clarinets in
most chairs without a peg or the peg extended only 1/2 inch. This puts
the bell in very close proximity to my feet. I place my right heel
against the front of the bell and my left ankle is positioned against
the side of the bell. This locks me in quite well and the bass is
extremely stable. It may sound odd, but this technique contributes to
the overall sensation of the instrument being an extension of the body.
I believe that it is absolutely true that when the instrument becomes
an extension of you it is no longer an obstacle to making music. When
performer and instrument are one you have truly entered that "zone" of
optimal music making.

Clark W Fobes