Klarinet Archive - Posting 001177.txt from 1997/10

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: long tone
Date: Sun, 26 Oct 1997 17:30:59 -0500

You know, both statements are correct. First, we should not see a lot of
movement in the embouchure.....however, such a statement really refers to
basic embouchure - and is best saved for the beginning to medium/advanced
player. There is always some adaptation and movement to notes throughout
the registers of the instrument.

I worked on Daphnis and Clohe with John Yeh (Eb clarinet part) a couple of
years ago, and his upper lip and corners were all over the place. I
mentioned that there was quite a bit of movement, and he said, "Well, we
must adjust for each note!"

There is adjustment for each note...hopefully happening at the subconcious
level. Long tones contribute not only to the "set" for each note, but for
the complete control of fast to slow to fast air speed, tongue position,
and flexibility.

Roger Garrett

On Sun, 26 Oct 1997 HatNYC62@-----.com wrote:

>
> <<in theory every note requires a very slightly different embouchure for
> absolute
> perfection on that note. >>
>
> In whose theory? Not mine! That's just the situation I would be trying to
> avoid. Practicing long tones constantly seems to me would develop just such
> tendencies.
>