Klarinet Archive - Posting 000675.txt from 1997/04

From: "L. BORCHERT" <lborcher@-----.edu>
Subj: Re: Clarinet angle
Date: Wed, 23 Apr 1997 01:26:42 -0400

The angle of the clarinet from the body into the embouchure should
be the angle that allows the reed to respond optimally to the airstream.
What is, then, that optimal angle? That is the real question.
There is not just one angle. Most of the newer pedagogy materials
say 30-35 degrees from the body. There is some variation depending on
the shape of the individual oral cavity, teeth, and lips. You can check
this yourself by standing with your back against a wall or door,
contacting the surface with your head, shoulders, and rear end (that's bum
to UK readers). As you play, raise and lower your instrument and listen
for the best tone quality and note the angle.
The back against the door helps keep the rest of your body stable.
For those of you who may remember the angle of Benny Goodman's
clarinet, especially in some publicity photos, was quite large (more that
55 degrees). But, take note of the angle of his body; he is leaning way
back. If he were to stand up straight, the angle would be much closer to
35 degrees.

I realize that there are other subjects related to the clarinet
angle topic (like the wedge effect of the mouthpiece anchored behind the
teeth or "chonk" as Leon Russionoff called it), but this may help get some
additional discussion started.

On Tue, 22 Apr 1997, Randall, Stephen/LON >

>
> A sax/flute/clarinet teacher acquaintance of mine tells me that if his
> pupils water up he takes this to be a sign that they are not holding the
> bell of the instrument high enough. His theory is that there is an
> optimum angle of dangle for a clarinet at which the water behaves itself
> and keeps out of the holes. This angle is generally nearer horizontal
> than most players, particularly beginners, like to use. I can't say
> that this matches my experience or intuition. Does anyone know
> different?
>
> Thirdly:
>
> Surely the approved method of removing water from tone holes is to wait
> until the flautist is caressing a ppp passage and then to give a hearty
> blow across the offending hole. If you can contrive to drop your
> mouthpiece cover (metal is essential for this) at the same time, the
> effectiveness of the operation can be considerably enhanced. (:->)
>
> Stephen Randall
>
>
>
>
>