Klarinet Archive - Posting 000277.txt from 1996/10

From: Roger Shilcock
Subj: Re: odd comments (acousti (fwd)
Date: Fri, 11 Oct 1996 03:50:52 -0400

---------- Forwarded message ----------
Date: Thu, 10 Oct 1996 21:21:56 EST
From: thehat%AFM.ORG@-----.UK
Subject: Re: odd comments (acousti

In a message dated 10-10-96 INTERNET: cohler@-----.NE wrote to ** ALL **:
Ic> You absolutely must adjust your embouchure to play notes properly in
Ic> the second and third registers.

Ic> The "keep the embouchure the same" myth is one of those that stems
Ic> from a lack of understanding of the basic physics of the instrument.

I am sorry but I must disagree here. I have to say that there is no one right
way to do this. If Mr. Cohler insists that the embochure must be changed for
HIM to play high notes, he is entitled to his opinion. In fact, he is in some
pretty good company, as I have played with some very fine players with
terrific control who adjust their jaws for different registers. Sax players
do this all the time.

"Keeping the embochure the same" is NOT a myth. It is an old French school
method. The Selmer Brothers advocated it and it was taught by Daniel Bonade,
who covers it in his "Clarinetist's Compendium."

Robert Marcellus, who had fantastic success in the higher registers, did not
make adjustments of the jaws or lips to change registers. I saw him play
close up and I know this to be so. He believed (as do I) that the changes to
be made are all internal, involving the middle and back of the tongue. He and
I had many discussions about the poise of the tongue. In fact, if one were
having trouble with grunts or squeaks, he often guessed (since he could not
see) that moving jaws were the culprit, and he was often correct.

If someone would like to point out the weaknesses in Mr. Marcellus's and Mr.
Bonade's playing to me (at least as relates to their high register control).
I would be happy to hear about it.

Whenever anyone suggests that there is something you must absolutely do or
not do, you should immediately become skeptical. I have heard beautiful
sounds come from embochures that looked "horrible" to me and, of course,
heard sounds that could peel paint and plaster come from textbook picture
perfect embochures.

Remember, it's not the swing, it's getting the ball in the hole.

David Hattner
clarinetist-at-large, NYC
-> Alice4Mac 2.5d3 E QWK Eval:04Feb96
Origin: Hat's Nut House

Comment: It all depends on what you mean by embouchure. I would count the
conformation of the throat and oral cavity as being part of the embouchure.
Roger Shilcock

   
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