Klarinet Archive - Posting 000292.txt from 1996/10

From: Jonathan Cohler <cohler@-----.NET>
Subj: Re: Steady Jaws.
Date: Fri, 11 Oct 1996 17:37:08 -0400

At 2:24 PM 10/11/96, thehat@-----.ORG wrote:
>At least I was willing to admit that there are more ways than one to
>accomplish this.

As I tried to explain in my message (perhaps not too clearly), one cannot
have opinions about facts. One cannot have the opinion that "2+2@-----. It
is a meaningless opinion. Therefore to have the opinion that:

Moving the pressure point on the reed has no effects on sound
production on the clarinet.

is meaningless. It is a fact (and has been objectively verified by
scientists that have studied this subject) that moving the pressure point
has significant effects on reed resonance and consequent sound production.

Whether or not one choses to use this technique is a purely personal
decision. But it is a fact (not an opinion), that without it, certain
things are not possible on the clarinet (and remember there are many
degrees of possibility).

It certainly is possible to play the clarinet quite well without moving the
pressure point much at all. And by the way, the amounts of motion I am
referring to are small (I would guestimate less than 1/2-inch up or down).
Some people probably do it subconciously (even though they may think they
are keeping the point stationary) from the natural training effects of
positive feedback.

>As I have said before, I have seen it done and I practice
>this myself.

I have no disagreement with this. I agree that many players play without
moving the embouchure.

>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?

I never said any such thing. I am sure you have fine control. But if you
truly do not use this technique at all (consciously or subconsciously),
then there are definitely areas of your sound production that could be
improved by its use.

>
>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 suggested neither that they are liars nor that they played only
mezzo-forte. I know nothing of Mr. Bonade's playing. But it is not
relevant to the discussion.

As for hearing students or any players facing registration troubles, I
would have to disagree with you. I would say registration is one of the
most prominent problems in clarinet playing, and one that I certainly deal
with on a daily basis even in my own playing.

I have uniformly found that players of all levels (again including myself)
-- high school, college, professional -- have substantial registration
problems. Furthermore, I have found that the problems can be more or less
pronounced on different instrument/mouthpiece/reed combinations, but they
are always there to some degree (as the physics dictates).

>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.

When I said everyone, I actually meant a "large majority" (excuse the
hyperbole) of players experience this problem when attempting to play the
clarion A at very soft dynamics. Clearly, those that have the proper
pressure and positioning don't have this problem.

>
>The fact is, the internal shape and dimensions of the oral cavity are
>different for each individual.

True enough. And the shape of the "Player's Wind Way", as Benade calls it,
is very important in stabilizing and clarifying notes. Just as one needs
to align the reed resonances with harmonics of the note being played,
aligning the PWW resonances with a harmonic of the note being played has an
important stabilizing effect (although suprisingly little effect on the
produced sound). [All of this is discussed by Benade in great detail.]

However, the shape of the PWW does not effect reed resonance. As I said,
in my previous message, the only things that effect the reed resonances
(for a given reed, mouthpiece, ligature) are the amount of pressure and the
placement of that pressure.

>I therefore suggest that generalizing about
>what is possible for everyone is unwise and even dangerous.

Once again, facts are facts. I don't understand the lack of wisdom or
danger in stating facts. Nowhere in my message did I even venture an
opinion of my own (although I do have some).

I'm just trying to present the facts and the physics. Sorry if I offended
anyone.

---------------------
Jonathan Cohler
cohler@-----.net