Klarinet Archive - Posting 000287.txt from 1996/10

From: thehat@-----.org
Subj: Steady Jaws.
Date: Fri, 11 Oct 1996 15:24:03 -0400

At least I was willing to admit that there are more ways than one to
accomplish this. As I have said before, I have seen it done and I practice
this myself. Those of you on the list who know my playing know that I have
better than decent control of the high register of the clarinet (Brad -
perhaps you will back me on this). I think I know what I am doing with my
jaws and lips and I can tell you that I do NOT adjust them for registration.
If that means that what I have accomplished as a performer up until now is
impossible, fine. The bumblebee can't fly either, right?

Mr. Cohler dares to suggest that my teacher and Mr. Bonade are either liars
or that they only played mezzo-forte, he didn't say which. I am offended by
this. These two were both tremedous performers and successful teachers. You
certainly don't hear their students routinely facing registration troubles.

I also find surprising that "everyone" gets undertones playing "a" above the
staff softly. I, for one, don't and I know dozens of fine players from my
school days who didn't and don't. Perhaps my ears (or eyes) decieve me? I
think not.

The fact is, the internal shape and dimensions of the oral cavity are
different for each individual. I therefore suggest that generalizing about
what is possible for everyone is unwise and even dangerous.

David Hattner
clarinetist-at-large, NYC

In a message dated 10-10-96 INTERNET: cohler@-----.NE wrote to ** ALL **:
Ic> I believe that people teach it. I didn't mean to say that it is a
Ic> myth that people teach it. The myth part is that it doesn't work,
Ic> can't possibly work, never did, never will.

Ic> Now there are degrees. It is possible to play mezzo forte in the
Ic> high register with just about any embouchure (and that's what most
Ic> people do).

Ic> But to play from niente on any note in the altissimo range, or even
Ic> down on the A or Bb just above the staff *requires* adjustments to
Ic> the embouchure. It stems from the physics of the reed/air column
Ic> coupled vibrating system, and the impedance response of the system.

Ic> That's why everyone gets undertones playing the A softly. That's why
Ic> people have trouble making a smooth slur from a high C to a high D,
Ic> or high C to high F, etc., etc....

Ic> First, the main pressure point on the reed must be moved slightly
Ic> lower and higher (depending on the note) by pushing the jaw forward
Ic> or pulling it in slightly. All the while (as Neil noted), one must
Ic> avoid too much pressure on the reed. Oral cavity shaping helps as
Ic> well (by positioning the tongue properly), but the correct
Ic> positioning of the embouchure is imperative because it changes the
Ic> nodal positions on the reed.

Ic> Whereever your lip is pressing on the reed is effectively a nodal
Ic> area. By changing the position of your embouchure (up or down the
Ic> reed), you change the nodal area, thereby changing the resonances of
Ic> the reed, thereby tuning the reed resonances to the air column
Ic> resonances, thereby making it possible to come in from niente.

Ic> Without it it's not possible. Now, some people may be doing it
Ic> without knowing that they are. But it must be done.
Ciao,
DAVID
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