Klarinet Archive - Posting 000063.txt from 1998/11

From: "Mark & Marci Maulden" <mmaulden@-----.net>
Subj: [kl] Re: klarinet Digest 31 Oct 1998 20:51:03 -0000 Issue 661
Date: Mon, 2 Nov 1998 21:00:57 -0500

We want off your mailing list NOW!!!
-----Original Message-----
From: klarinet-digest-help@-----.org>
Date: Saturday, October 31, 1998 1:24 PM
Subject: klarinet Digest 31 Oct 1998 20:51:03 -0000 Issue 661

>klarinet Digest 31 Oct 1998 20:51:03 -0000 Issue 661
>
>Topics (messages 7847 through 7861):
>
>OUCH!!!
> 7847 by: Roger Shilcock
<roger.shilcock@-----.uk>
> 7856 by: MorgyJr@-----.com
> 7857 by: "Mark Charette" <charette@-----.org>
> 7861 by: Note Staff Unlimited <notestaff@-----.ch>
>
>Altitude pt 2
> 7848 by: "David C. Blumberg" <reedman@-----.com>
> 7852 by: "Mark Charette" <charette@-----.org>
> 7853 by: "Doug Sears" <dsears@-----.org>
> 7854 by: "Mark Charette" <charette@-----.org>
>
>Galper Register Tube
> 7849 by: Ben Stutzman <benstutzman@-----.net>
> 7851 by: CEField@-----.com
>
>Clarinet Recital
> 7850 by: "Howard Green" <hmgreen@-----.net>
>
>question of Tube, A note, student discount
> 7855 by: "David C. Blumberg" <reedman@-----.com>
> 7858 by: CmdrHerel@-----.com
>
>double lip embouchure
> 7859 by: Note Staff Unlimited <notestaff@-----.ch>
> 7860 by: Note Staff Unlimited <notestaff@-----.ch>
>
>Administrivia:
>
>To subscribe to the digest, e-mail:
> klarinet-digest-subscribe@-----.org
>
>
>To post to the list, e-mail:
> klarinet@-----.org
>
> klarinet List Owner - <klarinet-owner@-----.org>
>
>
>----------------------------------------------------------------------
>Date: Sat, 31 Oct 1998 09:18:02 +0000 (GMT)
>To: klarinet <klarinet@-----.org>
>From: Roger Shilcock <roger.shilcock@-----.uk>
>Subject: Re: [kl] OUCH!!!
>
>The thumbrest on my cheapo Noblet bass *does* curve downwards.
>Does M. Kloc have a good reason for Buffet basses not to have this
>useful feature?
>Roger S.
>
>On Fri, 30 Oct 1998, line ringuette wrote:
>
>> Date: Fri, 30 Oct 1998 14:35:39 -0500
>> From: line ringuette <lringuet@-----.net>
>> Reply-To: klarinet@-----.org
>> To: klarinet <klarinet@-----.org>
>> Subject: [kl] OUCH!!!
>>
>> Hi there,
>>
>> I just finished my first practice session trying out Double Lip
embouchure
>> on my bass!
>> I thought this was a neat idea (thanks everyone for bringing it up), as I
>> have developped a nasty air leak on the right side from playing bass - I
>> leak air like mad when I switch back to the sop. clarinets!!!
>> So I thought double-lip might be a good idea - and i'm gonna try it out
on
>> my sop. clarinets also... as soon as I recover from this one!!!
>>
>> my initial observations are:
>> 1) i like the tone better - it sounded more rounded to me, (but could it
>> also be because of a slight damping effect?)
>> 2) my tuning was better (esp. in long B nat, and C which were sharp
before)
>> - it seemed to be more generally in tune all around - probably from
keeping
>> the oral cavity the same shape - and reducing biting tendencies
>> 3) I had more trouble balancing the instrument, it really became obvious
>> to me just how much we use the mouth to balance the bass (i have one with
a
>> peg too)
>> i ended up using the neck strap to help me - but would like to not have
to
>> use it.
>>
>> QUESTION: i think a thumb rest that curves downward would be a good
>> idea....
>> on bass (w/peg) you don't really lift it as much as you balance it
anyway.
>>
>> Mr. Kloc: does Buffet have any thumb rest options? i've never seen it
>> advertised before, but would it be something of the sort be available
>> through Buffet.... a thumb rest that curves downward so that when you
play,
>> the bass can balance against your thumb? I noticed there's already a
>> slight curve downward provided (as compared to my sop. clar thumb rests),
>> but it's really not enough. I've seen another bass player with a curved

>> thumb rest before, but he had it built specially for his bass - and i
don't
>> know who did it for him.
>> I wonder if a thumb rest of this sort would be enough to balance a bass,
>> playing double-lip, and without the use of a neck-strap? hmmm..... anyone
>> out there with experience on this matter?
>> Thanks
>> Line Ringuette
>>
>>
>> -------------------------------------------------------------------------
>>
>>
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 14:54:46 EST
>To: klarinet@-----.org
>From: MorgyJr@-----.com
>Subject: Re: [kl] OUCH!!!
>
>This is a great thread going on. I would also share what I hae learned
about
>the double lip embouchure -- I used it when i first started playing
clarinet
>in the 5th grade, not knowing "any better" I saw no one else was doing
what I
>was doing, so i did what everyone else was doing. MANY years later, it was
>brought up in a masterclass with Dr. Larry Maxey, at KU and his opinion was
>that the double lip embouchure if mastered could produce a better tone,
etc...
>but was more difficult to master and like Roger Garrett said. If you
haven't
>already been doing it it's not a good idea to switch.
>
>Now it's my turn for a couple of q's.
>
>There have been lots of bass clarineters out there on the list lately. I
was
>wondering who are the most highly regarded teachers out htere? I know of
>Stanley Hasty and Elsa Verdehr for soprano clarinet (both well known
teachers
>of my teachers) but other than Tom Aber in the Kansas City area, I know of
no
>other great bass clarinet teachers. So, klarineters, what say ye?
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 14:51:42 -0500
>To: <klarinet@-----.org>
>From: "Mark Charette" <charette@-----.org>
>Subject: Re: [kl] OUCH!!!
>
>>There have been lots of bass clarineters out there on the list lately.
>I was
>>wondering who are the most highly regarded teachers out htere? I know
>of
>>Stanley Hasty and Elsa Verdehr for soprano clarinet (both well known
>teachers
>>of my teachers) but other than Tom Aber in the Kansas City area, I know
>of no
>>other great bass clarinet teachers. So, klarineters, what say ye?
>
>Bok teaches somewhere in Europe & J. Lawrie Bloom teaches at
>Northwestern.
>
>----
>Mark Charette@-----.org
>Webmaster, http://www.sneezy.org/clarinet
>All-around good guy and devil-may-care flying fool.
>"There can be no freedom without discipline." - Nadia Boulanger
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 21:57:07 +0100
>To: klarinet@-----.org
>From: Note Staff Unlimited <notestaff@-----.ch>
>Subject: Re: [kl] OUCH!!!
>
>klarinet@-----.org schrieb:
>
>> There have been lots of bass clarineters out there on the list lately. I
was
>> wondering who are the most highly regarded teachers out htere? I know of
>> Stanley Hasty and Elsa Verdehr for soprano clarinet (both well known
teachers
>> of my teachers) but other than Tom Aber in the Kansas City area, I know
of no
>> other great bass clarinet teachers. So, klarineters, what say ye?
>>
>> Harry Spaarnay (did I spel iit wright?) from Holland is a superb bass
>> clarinettist and teaches I think in Amsterdam and another Dutch city.
>
>David
>David Glenn
>notestaff@-----.ch
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 08:20:07 -0500
>To: klarinet@-----.org
>From: "David C. Blumberg" <reedman@-----.com>
>Subject: re:Altitude pt 2
>Message-Id: <4.1.19981031081518.00a0b290@-----.com>
>
>Date: Fri, 30 Oct 1998 20:11:25 -0500
>To: <klarinet@-----.org>
>From: "Mark Charette" <charette@-----.org>
>Subject: Re: [kl] re:Reed performance - altitude difference
>David Blumberg said:
>>What about the difference in the air density at different altitudes???
>That
>>would certainly affect the reed vibrating. There is quite a difference
>if I am
>>playing in the Teton Mountains or Philadelphia.
>Doesn't affect the _reed_. It affects other physical things, and the
>reed will vibrate at a different frequency. But the reed is still warm
>and wet, just like it was somewhere else. It still isn't the reeds fault
>that the clarinet is out of tune ... just like it isn't the _clarinet's_
>fault. The clarinet didn't change dimensions, either (assuming the
>temperature of where you're playing is about the same in both places).
>----
>Mark Charette@-----.org
>Webmaster, http://www.sneezy.org/clarinet
>All-around good guy and devil-may-care flying fool.
>"There can be no freedom without discipline." - Nadia Boulanger
>
>---------------------------------------------------------------------------
-
>---------------------
>
>I must have not caught the first thread. I would not expect the altitude to
>have an effect on intonation, but would expect the reed to feel harder at
>higher altitudes. The air column in the Clarinet is a different density at
>different altitudes. If the reed vibrates at a different frequency, then
what
>is the effect of that different frequency?
>David Blumberg
>reedman@-----.com
>http://www.sneezy.org/clarinet/Music/Blumberg.html
>http://members.aol.com/cwindz/galper.html
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 12:19:41 -0500
>To: <klarinet@-----.org>
>From: "Mark Charette" <charette@-----.org>
>Subject: Re: [kl] re:Altitude pt 2
>
>From: David C. Blumberg <reedman@-----.com>
>>I must have not caught the first thread.
>>I would not expect the altitude to
>>have an effect on intonation, but would
>> expect the reed to feel harder at
>>higher altitudes. The air column in the
>>Clarinet is a different density at
>>different altitudes. If the reed vibrates
>>at a different frequency, then what
>>is the effect of that different frequency?
>
>Warning: simple algebra approaches :)
>
>The formula for determining the allowable
>frequencies of an ideal closed end cylinder
>is:
>
>f = (n - 1/2) V / 2(l + S/c)
>
>where
>n = any integer
>V = the local sound velocity
>l = length
>S = cross sectional area of the tube
>c = the acoustic conductivity of the open
> end of the tube. The calculation of this
> is _way_ beyond the scope of this posting
> and really stretches my math knowledge.
> Tensors are easier!
>
>V, the local sound velocity, in an ideal gas,
>only varies with temperature. For dry air the
>formula for V is:
>
>V = V0 sqrt(1 + t/273)
>
>where
>
>V0 @-----.3 M/sec
>t = temperature in Celsius
>
>Now, if air were that "ideal dry air", we
>wouldn't have to worry about altitude; pressure
>doesn't come into the picture. This formula is
>used for V all the time for simplification.
>
>In reality, the speed of sound varies with
>pressure - it doesn't obey the ideal gas law.
>Some approximate numbers (there are formulae
>to calculate some very good approximations to
>the local speed of sound, but again, the
>formulae are beyond the scope of this
>posting):
>
>Speed of sound at sea level at 0 C @-----.3 M/s
>Speed of sound at 45,000 ft at 0 C @-----.0 M/s
>
>Doing a linear interpolation ( a dangerous
>assumption, but who cares at the moment - we
>can lip things up or down to make 'em right :),
>the speed of sound at 5000 ft would be:
>
>327.27 M/s
>
>Using a ratio (since the other variables will
>remain about the same - c changes a tiny, tiny bit):
>
>f1 @-----.30 / 2(l + S/c) (sea level)
>f2 @-----.27 / 2(l + S/c) (5000 ft)
>
>f2 will be lower than f1 by a ratio of .962,
>therefore (again, this is approximate):
>
>A fingering for Concert A (440 Hz) at sea
>level produces 440 * .962, or 423.28 Hz at 5000
>ft - just a wee bit flat :)
>
>During all this time we've been at 0 C, so
>time to go in and warm up the instrument and
>yourself. Which brings back into play the
>temperature. I leave the calculations of the
>local velocity of sound in "real" air at other
>temperatures as an exercise for the readers.
>All you have to do is pick up a good textbook
>on fluid dynamics, a bit of thermodynamics,
>and a good refresher tome on calculus!
>----
>Mark Charette@-----.org
>Webmaster, http://www.sneezy.org/clarinet
>All-around good guy and devil-may-care flying fool.
>"There can be no freedom without discipline." - Nadia Boulanger
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 10:52:03 -0800
>To: <klarinet@-----.org>
>From: "Doug Sears" <dsears@-----.org>
>Subject: Re: [kl] re:Altitude pt 2
>
>Very interesting calculations, but your speed of sound at sea level
>doesn't match the number you plugged into the formula for f1:
>
>>Speed of sound at sea level at 0 C @-----.3 M/s
>>f1 @-----.30 / 2(l + S/c) (sea level)
>
>Correcting this to:
>f1 @-----.3 / 2(l + S/c) (sea level)
>f2 @-----.27 / 2(l + S/c) (5000 ft)
>
>gives a ratio of .988, and 440 Hz at sea level becomes 434.6 Hz at 5000
>ft, a more believable change, IMO, and still pretty significant.
>
> --Doug
>---------------------------
>Doug Sears dsears@-----.org/~dsears
>
>-----Original Message-----
>From: Mark Charette <charette@-----.org>
>[...]
>>Speed of sound at sea level at 0 C @-----.3 M/s
>>Speed of sound at 45,000 ft at 0 C @-----.0 M/s
>>
>>Doing a linear interpolation ( a dangerous
>>assumption, but who cares at the moment - we
>>can lip things up or down to make 'em right :),
>>the speed of sound at 5000 ft would be:
>>
>>327.27 M/s
>>
>>Using a ratio (since the other variables will
>>remain about the same - c changes a tiny, tiny bit):
>>
>>f1 @-----.30 / 2(l + S/c) (sea level)
> ^^^^^^
>>f2 @-----.27 / 2(l + S/c) (5000 ft)
>>
>>f2 will be lower than f1 by a ratio of .962,
>>therefore (again, this is approximate):
>>
>>A fingering for Concert A (440 Hz) at sea
>>level produces 440 * .962, or 423.28 Hz at 5000
>>ft - just a wee bit flat :)
>>[...]
>>----
>>Mark Charette@-----.org
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 13:57:36 -0500
>To: <klarinet@-----.org>
>From: "Mark Charette" <charette@-----.org>
>Subject: Re: [kl] re:Altitude pt 2
>
>From: Doug Sears <dsears@-----.org>
>
>>Very interesting calculations, but your speed of sound at sea level
>>doesn't match the number you plugged into the formula for f1:
>>
>>>Speed of sound at sea level at 0 C @-----.3 M/s
>>>f1 @-----.30 / 2(l + S/c) (sea level)
>
>Whoops - I originally had the formula at a temperature other
>than 0 C, and missed a factor when I changed the references to
>0 C. That's why we have peer review :)
>
>>Correcting this to:
>>f1 @-----.3 / 2(l + S/c) (sea level)
>>f2 @-----.27 / 2(l + S/c) (5000 ft)
>>
>>gives a ratio of .988, and 440 Hz at sea level becomes 434.6 Hz at 5000
>>ft, a more believable change, IMO, and still pretty significant.
>
>Thanks,
>----
>Mark Charette@-----.org
>Webmaster, http://www.sneezy.org/clarinet
>All-around good guy and devil-may-care flying fool.
>"There can be no freedom without discipline." - Nadia Boulanger
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 09:54:47 -0500
>To: klarinet@-----.org
>From: Ben Stutzman <benstutzman@-----.net>
>Subject: Re: [kl] re:Galper Register Tube
>
>What I actually meant was the *note* A. I suspect the new vent doesn't
>improve it much. I didn't think about it for the A-pitched clarinet.
>
>About the student discount:
>Don't you think it's ironic that all the professionals who have mostly
>overcome these playing difficulties can afford improvements like these,
>while students who have a hard time overcoming this are too poor. This
>goes with a lot a things, of course. A professional could make a Bundy
>sound like an R-13 (maybe), but yet a student who can't do that doesn't
>have the money to buy an R-13. I guess that's just how it is. Of
>course there's nothing wrong with learning to do it the hard way.
>
>_________
>Ben Stutzman
>benstutzman@-----.net
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 12:09:54 EST
>To: klarinet@-----.org
>From: CEField@-----.com
>Subject: Re: Re: [kl] re:Galper Register Tube
>
>You are so right about kids having lousy clarinets to play on. For the past
>three years I have been teaching myself how to restore dead clarinets. I
can
>make many of them sound good but a Bundy will always be a Bundy to my ears.
>The best I can do is make the student instruments play easily and well so
kids
>don't get discouraged and take up another "more cool" instrument. I don't
want
>to mention the "s" word because I know there are a lot of doublers on this
>list. But I confess to a special place in my heart for French clarinets and
I
>understand that not everyone shares that obsession.
>
>I am especially sensitive to the plight of cash-strapped parents and
students
>because my own father, who supported my playing but could not afford
private
>lessons for me, surprised me one payday (November 29, 1960) by spending
>literally the last $42 in his pocket for a used hard rubber Pruefer
clarinet
>from Silvio DiPippo's music store on Atwells Avenue in Providence, RI. That
>was my only instrument until 1990 when I bought my Buffet R13. I have since
>sold the Pruefer to a adult on the West Coast who wanted to learn clarinet.
>But I still have the receipt for the clarinet as a reminder that there are
>many families in situations like mine.
>
>That $42 clarinet was the best gift my father gave to me.
>
>Cindy
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 10:31:17 -0600
>To: <klarinet@-----.org>
>From: "Howard Green" <hmgreen@-----.net>
>Subject: Clarinet Recital
>
>For anyone in the Chicago area on November 22:
>
>I am performing a recital at the Skokie Public Library on that day at 3
P.m.
>is at 5215 Oakton Street, Skokie (847) 673-7774.
>
>Program:
>
>Unaccompanied Sonata (originally for Flute) JS Bach
>
>Concerto #3 in Bb Stamitz
>
>Eclogue and 6 Songs for Clarinet and Acoustic Guitar (**NEW WORK **)
>Adamczyck
>
>Fantasia on Motives from Rigoletto Bassi
>
>3 Preludes Gershwin (arr. Cohn)
>
>Trio for Clarinet, Cello, and Piano, Op. 11 Beethoven
>
>Sonata Poulenc
>
>Czardas Monti (arr. Green)
>
>Hope to see some of you there!
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 14:08:09 -0500
>To: klarinet@-----.org
>From: "David C. Blumberg" <reedman@-----.com>
>Subject: re: question of Tube, A note, student discount
>Message-Id: <4.1.19981031135451.009f0e40@-----.com>
>
>Ben Wrote:
>What I actually meant was the *note* A. I suspect the new vent doesn't
>improve it much. I didn't think about it for the A-pitched clarinet.
>
>About the student discount:
>Don't you think it's ironic that all the professionals who have mostly
>overcome these playing difficulties can afford improvements like these,
>while students who have a hard time overcoming this are too poor. This
>goes with a lot a things, of course. A professional could make a Bundy
>sound like an R-13 (maybe), but yet a student who can't do that doesn't
>have the money to buy an R-13. I guess that's just how it is. Of
>course there's nothing wrong with learning to do it the hard way.
>
>_________
>Ben Stutzman
>benstutzman@-----.net
>
>---------------------------------------------------------------------------
-
>-------------------------
>Dave B. responded:
>Another irony in life is that String players usually get the scholarships -
>and they are also the rich ones.
>The A on the Clarinet is much more clear then the Bb usually. With
>resonance keys added, it is quite good. The Bb on the other hand, is still
>a weaker sounding note - till the Galper tube is added (or if you use the
>R.H. side key). The key-tube could cost quite a bit more then it does. The
>cost to patent, etc, plus the cost to produce it does not give Abe any room
>to discount the Tube-Key. I remember Tony Gigliotti telling me at a lesson
>13 years ago that it cost him $10,000 to change a cracked die cast for his
>ligature. The costs are enormous. The tube/key costs 1/2 as much as a
>Reedwizard (so you could put it in that perspective). The vent doesn't
>change the A, as the A is dependent on the A vent, not the register tube,
>but the upper register is much more even blowing, as well as the throat Bb
>sound greatly improved.
>David Blumberg
>reedman@-----.com
>http://www.sneezy.org/clarinet/Music/Blumberg.html
>http://members.aol.com/cwindz/galper.html
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 15:14:07 EST
>To: klarinet@-----.org
>From: CmdrHerel@-----.com
>Subject: Re: [kl] re: question of Tube, A note, student discount
>
>In a message dated 10/31/98 2:11:33 PM Eastern Standard Time,
>reedman@-----.com writes:
>
><< A professional could make a Bundy
> sound like an R-13 (maybe), but yet a student who can't do that doesn't
> have the money to buy an R-13. I guess that's just how it is. Of
> course there's nothing wrong with learning to do it the hard way. >>
>
>Don't forget the converse: A student can make an R-13 sound like a
Bundy...
>:)
>
>Nothing much wrong with putting your time in on the equipment you have
until
>you are able to afford better. I think that as long as a student has one
>reasonable working setup (Bb) they can get as much out of their education
as a
>student coming in with a top of the line matched set of custom horns.
What's
>reasonable? I'd say a used R-13 (I can find them for under six hundred
bucks)
>and a good handmade mouthpiece. Total kit for under seven hundred hundred
>dollars.
>
>Ways to do it? I know some music majors who take out their student loans
for
>a bit over their tuition so that they can get a horn after one or two
years.
>Is it worth adding to your debt? Yes. And when you compare the cost of
the
>horn to the cost of tuition, it really isn't that much more. You need one
>decent horn as much as you need the classes if you're going to be a
musician.
>
>I've been able to get one new horn about every four to five years. It
sounds
>like a long time, but it's not, really. I have two beautiful Bb's, a great
A,
>a new Eb, and while I'd already like to have that bass, a couple of years
>longer won't be so bad.
>
>Although my husband recently started talking about pitching in some for the
>bass when I finish my masters... I said hell if that's the case, I can
finish
>in a semester! :)
>
>Teri Herel
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 21:40:06 +0100
>To: klarinet@-----.org
>From: Note Staff Unlimited <notestaff@-----.ch>
>Subject: Re: [kl] double lip embouchure
>
>klarinet@-----.org schrieb:
>
>> Hi my name is Tom (everyone say's Hi tom) and I play double lip. I
started
>> playing double lip with my first teacher, Chris wolfe (Eb Clar Baltimore
Sym).
>> He always played that way, on Eb&Bb. So when I started with my second
teacher,
>> Ignatius Gennnusa, and heard the sound he got with the double there was
no way
>> I was going to switch to single. Over the years in the Us Army Field Band
I've
>> noticed that my endurance hasn't been that different from the single lip
>> players in the band. I've played solos (standing up, strapless) the only
>> difference is my top lip gets tired instead of the bottom. There is one
trend
>> that I've noticed. The kind of mouthpiece reed combo that those of us
that
>> play double tend to use, is generally different. Whenever I've tried
setups
>> of other double lippers I've felt that I could almost play a gig on their
>> stuff. This has never been true of single lip setups that I've tried.
This
>> would be an interesting question to the board. What setups are the double
>> lippers playing?? Here's an interesting statistic out of 13 clarinetists
in
>> the US Army Field Band only 2 of us play double.
>>
>> Hi Tom (I said it too!). I play a medium to close German mpce with - of
course -
>> resonance spectral tuning (nothing to do with double lip). I think the
set up is
>> more or less the same as when I would play single lip. However there are
surely
>> those single-lippers which use slightly scraped down wooden toothbrushes
for
>> reeds and turn their mouth into a vice which isn't really possible with
double
>> lip.
>
>DavidDavid Glenn
>notestaff@-----.ch
>
>------------------------------
>
>Date: Sat, 31 Oct 1998 21:54:36 +0100
>To: klarinet@-----.org
>From: Note Staff Unlimited <notestaff@-----.ch>
>Subject: Re: [kl] double lip embouchure
>
><<klarinet@-----.org schrieb: This "head up, clarinet in" concept is that
the
>lower your bottom lip is on the read, the more control you will have to
your
>sound, if of course you also do the pressure top to bottom thing (called
"closing
>off"). You'll notice when you bring the clarinet bell in toward your body,
it
>indeed lowers your lip on the reed. (And you might hear it opening up your
sound
>right away.)
>
>> But you are right, it is much less comfortable and more tiring.
>>
>> This sound idea I've noticed is controversial, with a lot of opposition.
>> However for me, I love the tone and control that come with it.
>
>> Mouthpiece cushions to increase the oral cavity for single lip players
sounds
>> like it could work. I use a thick cushion WITH the double lip embouchure
to
>> open the cavity even further!
>>
>> Teri Herel>>
>>
>
>That makes me very curious as to the sound you get with your double lip
emb. and
>thick pad. What could be the opposition to a good tone?!?!
>
>David
>David Glenn
>notestaff@-----.ch
>
>------------------------------
>
>End of klarinet Digest
>***********************************

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