Klarinet Archive - Posting 000776.txt from 1997/12

From: J & K Morgan <morgan@-----.com>
Subj: Re:
Date: Mon, 15 Dec 1997 23:11:27 -0500

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The open sound is what my instructor wants on the bass. I am constantly
trying to relax my mouth so as to produce a deep dark sound in all
registers on the bass. Just goes to show that one person's poison is
another person's taste.

Try a different mouthpiece - Vandoren B44 seems to get me a more focused
sound - the B45 was more open.

Neil has echoed my instruction on the bass exactly.

Hope this helps.

John Morgan - bass clarinet player under construction
Civil engineer in real life

Sarah Rodgerson wrote:

> After reading this, Neil, I began to wonder about the "flip" side of
> the case... what I have not felt the need to mention before is that
> not only do I play clarinet and bass clarinet-- I am also a brass
> player-- I play Tuba in the MOB (Rice's Marching Owl Band...) I find
> that when I switch back from tuba or bass clarinet, I have the most
> open sound, which in my opinion, and my former lesson teacher, seems
> to be rather undesirable! I wonder exactly how much is just letting
> go going to help me. I cannot see a way for your "less is more" idea
> to better my situation when I switch around like this. I don't know if
> I would actually call it "partitioning" when I trade off and play
> different instruments, either-- after playing brass for a while, my
> ear became MUCH better... I can play in tune on my not-so-in-tune E-11
> up and down the scales! :) I have found in my limited experience
> that whatever you learn on one instrument can potentially transfer to
> another. These are just my views on the matter! If anyone else can
> give me a few hints as to how to utilize this idea of letting the air
> do the work, without overdoing it, and sounding like the loudest, most
> unfocused clarinet, please let me know! :) Sincerely,Sarah "yes I
> know I am only a freshman and yes I know I am going to be a chemical
> engineer but By Golly I love Clarinet" RodgersonRice University1997
> Texas All State Bass Clarinet
> 1997 08:40:14 -0600 (CST)
> From: Neil Leupold <nleupold@-----.edu>
> Subject: Re: patches
>
> One of the great mysteries of clarinet playing is how to attain a
> fully relaxed and integrated approach to producing tone. The old
> adage "less is more" comes strongly to mind in this case, for most
>
> players don't recognize that their strangle-hold on "control" is
> precisely what inhibits them from achieveing their true potential
> as clarinetists. While we all pay lip service (pun fully
> intended)
> to the notion that the air should do all of the work...
>
> ...What is necess-
> ary, though, is to literally open up and let the air do the work.
> Jaw
> pressure confounds all hope for a leap forward and, for some
> players,
> the first-time experience of using a mouthpiece patch is nothing
> short
> of revelatory. If the patch is thick enough, it will occasion a
> wide-
> ning of the aperture and an openness of the oral cavity which, if
> per-
> ceptible by the player, is the first step toward freeing the reed
> to
> respond to the air stream. Some people experience this sensation
> as
> a result of alternating between soprano and bass clarinets, but
> then
> they promptly adapt to the difference and erect a dividing line
> be-
> tween the two instruments which prevents them from
> cross-pollinating
> concepts between the two.
>
> The idea is to recognize the oddity of having your mouth feel more
> open
> than "normal", and keep that sensation intact. Then adapt the
> rest of
> your approach to this new constant. It requires a strengthening
> of the
> lips, and development of greater capacity to focus the air
> stream. A
> mouthpiece patch is an external device which can help to get
> things
> moving in the right direction for a player who has never used one
> before.
> Thus begins the process of raising the tongue. What also begins
> is a
> mental journey where we draw a direct link between the diaphragm
> and the
> reed, actuated by the upper lip (of all things!). The jaw and
> lower lip
> become nearly superfluous as we begin to apply the idea that the
> upper
> lip and sides are primarily responsible for regulating pressure on
> the
> reed, and the lower lip is simply along for the ride.
> Just some random thoughts on my part.
> Neil
> ------------------------------

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