Klarinet Archive - Posting 000127.txt from 1998/02

From: Neil Leupold <nleupold@-----.edu>
Subj: Bass clar. articulation
Date: Tue, 3 Feb 1998 01:07:04 -0500

On the subject of tonguing in the lowest range of the bass clarinet,
one member (either Roger Garrett or another individual) seemed to
suggest that getting a clear, easily spoken attack requires that the
player make contact with the reed at a point lower than its very tip.
I don't have the original post, so maybe the author can reiterate the
point for clarification. If I've paraphrased it closely enough, then
I disagree with the idea. Perhaps it is one of the commonly taught
methodologies for achieving clean articulation in the lower chalumeau,
but I have never had to resort to any alteration of the contact point
between my tongue and the reed, regardless of the range in which I am
playing. There is flexibility in the contour of my tongue and in the
shape of my oral cavity, as well as in the speed, focus, and support
of the air stream, but there is absolutely no deviation with respect to
where my tongue makes contact with the reed, be it on bass clarinet or
on soprano. It is tip-to-tip at all times, and I have no problems
articulating cleanly, slowly, quickly (i.e.; 160), legato, staccato,
etc. on either instrument, regardless of range. I don't make this
point for the purpose of disagreement, but to ensure that more than
one real method is made known to those who are developing their
articulation skills on either instrument. For some, changing the
point of contact is the answer. For others, like me, there are
conventional ways to achieve articulation, in any range, on either
instrument, without dissolving the consistency of where the tongue
makes contact.

Something else with which I do not agree is the notion that the
bass clarinet must be at an appreciable angle away from the body
in order to form a correct embouchure, as well as to form the
basis for all other technical issues which follow (i.e.; tonguing,
breath support, etc.). The phrase I remember from the original
post was to the effect that the bell is to be placed literally
underneath the chair between the player's legs, such that the
instrument protrudes forward at an angle from that resting point
on the ground. If Roger Garrett made this statement, then I
understand why, because Laurie Bloom plays this way. I guess
one question I have is: Is it possible to play with the instrument
at such an angle without using a neckstrap? I don't use a neck-
strap, and I also do not play with my instrument at such an angle.
I sit up very straight regardless of which instrument I'm playing
(soprano v. bass), and sometimes my bass clarinet is even leaning
backward toward me, rather than forward and away. This technique
does not present any problems during practice or performance, and
I manage perfectly well on Daphnis and Grofe' and Till and Stravinsky
and so forth. Again, just a separately valid option regarding one's
approach to bass clarinet technique. We must never get into the
mindset that there is ever only one right answer.

Neil