Klarinet Archive - Posting 001198.txt from 1997/10

From: avrahm galper <agalper@-----.com>
Subj: Selmer "Talks to Clarinetists"
Date: Sun, 26 Oct 1997 22:05:47 -0500

How to produce a true clarinet tone
[The second installment of the Selmer Talks to Clarinetists]

It is a difficult matter to advise upon the rendering of a true, sweet
clarinet tone.
Probably the best results will be obtained from repeated efforts of the
player to improve in this respect.

I do wish to remind my readers of the remarks I formerly made concerning
the careful choice of a mouthpiece.
After a suitable mouthpiece is secured, it is next of importance to
learn the knack of fitting a reed that gives the best results, both as
to tone, ease of blowing, and control in general.

I must again emphasize the importance of practicing sustained tones in
view of developing a good tone.
Do not, however, do this after it becomes an actual strain.
It is better to practice at half- hour intervals with short period
intermissions between the practice periods.
In this manner, the muscles about the lips and mouth will be properly
rested and fatigue avoided.
There are many studies to be had that add melody, and thus pleasure, to
the practice necessary for a good tone.
I wish to stress one of the most important points-use the same
embouchure or lip pressure in playing all registers of the clarinet.
Do not press for high tones.
Too much lip pressure in any register chokes the tone, and causes one to
play out of tune, producing the same effect as you were to squeeze a
singer's throat while he or she is singing.

Avrahm Galper