Klarinet Archive - Posting 000871.txt from 1998/11

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] "Should I ...?" "You should ..."
Date: Mon, 23 Nov 1998 14:46:33 -0500

On Mon, 23 Nov 1998, Dan Leeson: LEESON@-----.edu wrote:
> There is a great deal of the dogmatic in clarinetists. "Play this
> and only this instrument to the exclusion of all others ..." or
> "Use this reed" or mouthpiece or fingering or interpretation
> or state of mind.
>
> And much of it is simply uncritical repetition of what that person
> heard from his or her teacher, or else belongs to that element of
> clarinet playing called "lore."

As one of my former music education teachers used to say - don't make the
mistake of teaching ONLY the way you were taught.

You know, I have a bunch of really great clarinet students in my studio
right now - with a large mix of music majors and non-music majors. It
always seems to be the non-majors who do so well. But....let's take the
issue of mouthpiece selection as an example of what Dan (and Tony) are
saying - let's say one student is a biter and plays sharp, another is a
non-pressure player who plays in tune or low. Both have good embouchures
and reasonable support systems working for them. Both have awful
mouthpieces. The biter tends to play more like I do in my approach - so, I
feel comfortable recommending a Pyne, Gennusa or Bay mouthpiece - they
accomodate players such as us! The other player however, would suffer
miserably with such a mouthpiece - but would do wonderfully on a Hawkins,
Fobes, or Robert Scott set-up. It really depends on the player and their
approach to the horn. As far as instruments go however, there are more
constants to the equation. If we agree with Dan - that is, most of the
sound quality comes from everything above the horn (barrel and up), then
selection of a horn might need to be based on more biased information.
That I believe the Buffet Bass Clarinet is currently the best horn
available is what I will state - because I believe that to be true. On
the other hand, I don't believe the Pyne is the best mouthpiece, or the
Gennusa, or the Hite, or the Fobes, or the Bay.....etc. because the impact
of these pieces of equipment are based more on the individual than the
setup below. See the difference?

> So I add my support to Tony's very well said comments, though I
> do so in a cowardly fashion; i.e., after Tony stepped forward
> far more bravely than me, I then come forward and say, "Me too!"

One last thing - most students (not all) tend to want direction in terms
of absolutes - they respond well to them, and they thrive on that
confidence of information. Once they have adopted beliefs and
philosophies based on those absolutes, they often learn more quickly and
and thoroughly when they begin to discover that there are many
possibilities. Are the absolutes necessary? In my opinion
yes......should the stop at some point? In my opinion - yes....when the
student is ready - that's where critical learning begins and independence
of thinking is developed. At what point? When the student begins to gain
confidence and demonstrates interest beyond following directions.

It is not a simple thing - this list MAY have a weakness, as Dan
describes, but its weakness is also its strength.....again, in my opinion.
These are things we learn in our education classes, our ed. psch. classes,
our methods courses, etc.....and these are things which are so important
to the development of children and young players. From a professional
standpoint, they may seem uncessary and, in fact, downright harmful
because of the slanted information. But - that is not necessarily true.

I have long since stopped adding fuel to the flames regarding which horn,
reed, mouthpiece, interpretation, etc.......why? Because so many other
people are presenting them, it is easier and far less risky to sit back
and watch the fun! Still, when there is an important issue - it seems
relevant to say something. This seemed like one of them!

Roger Garrett
Illinois Wesleyan University

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