Klarinet Archive - Posting 001092.txt from 1998/11

From: "Göran Furuland" <furuland@-----.com>
Subj: [kl] Re: klarinet Digest 25 Nov 1998 17:18:41 -0000 Issue 750
Date: Sat, 28 Nov 1998 04:46:21 -0500

Hallo!
I want to change my e-mailaddress to "furuland1@-----.net"

klarinet-digest-help@-----.org wrote:

> klarinet Digest 25 Nov 1998 17:18:41 -0000 Issue 750
>
> Topics (messages 8837 through 8851):
>
> Grand Concert Select Thick equivalent of V12
> 8837 by: "Carl Schexnayder" <carlsche@-----.net>
>
> Why I can't play in tune: a clarinetist's apology
> 8838 by: Martin Pergler <pergler@-----.edu>
> 8851 by: Tony@-----.uk (Tony Pay)
>
> Chosing Reeds
> 8839 by: "Carl Schexnayder" <carlsche@-----.net>
>
> New, Improved "Clarinet Books and More" in its own domain on Sneezy II
> 8840 by: "Carl Schexnayder" <carlsche@-----.net>
>
> The Adventure Begins
> 8841 by: Bill Hausmann <bhausman@-----.com>
>
> band literature
> 8842 by: JCLizmod@-----.com
>
> Flat Fingers
> 8843 by: "David C. Blumberg" <reedman@-----.com>
> 8844 by: "Mark Charette" <charette@-----.org>
>
> Choosing Reeds
> 8845 by: Lee Hickling <hickling@-----.Net>
> 8847 by: Roger Garrett <rgarrett@-----.edu>
>
> Mannerisms (was: Third fingers straight?)
> 8846 by: LeliaLoban@-----.com
>
> Flat fingers and tension
> 8848 by: CmdrHerel@-----.com
> 8850 by: Roger Garrett <rgarrett@-----.edu>
>
> Overblowing problem
> 8849 by: Richard Sankovich <sanko@-----.edu>
>
> 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: Wed, 25 Nov 1998 03:26:49 -0600
> To: <klarinet@-----.org>
> From: "Carl Schexnayder" <carlsche@-----.net>
> Subject: Re: [kl] Grand Concert Select Thick equivalent of V12
>
> Hi Soo:
> I prefer the Grand Concert Thick Blanks because I find them to be more
> consistant. I liked them better, however, when they came is quarter
> strengths. I haven't used any V-12's in a while, but I seem to remember
> that they're about the same strength an the Grand Concerts.
>
> Carl Schexnayder
>
> Soo Wrote:
>
> >Hi everyone!
> >
> > First of all, thanks everyone for answering and commenting on my
> >postings about R13 key platings and Orly case. I just placed an order for
> >it and I hope I won't be dissapointed.
> > During my last lesson with my clarinet teacher, he mentioned that
> >he tried the new and improved Grand Concert Select Thick and he said he
> >liked it very much. He mentioned that they appeared to be as consistent as
> >they claimed, but he wants to give it a shot for a couple of weeks before
> >deciding if the claim if verified as that was his first box. I was getting
> >pretty frustrated with my V12 (who doesn't?) and was thinking of giving
> >the Grand Concert a try. They are more expensive than V12 though.
> >
> > The question I have is, what is the size on the Grand Concert
> >Select Thick that is equivalent of V12 size 3? I am trying to determine
> >the size so that I can get the proper size I can play on. I know that it
> >won't match perfectly but a closest approximate would be great too.
> >
> > Maybe I'll give hydrogen peroxide a try on my V12 before resorting
> >to Grand Concert reeds. I apologize if this size issue have been discussed
> >before. Thanks everyone, I appreciate it! :)
> >
> >Soo
> >
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 03:30:39 -0600 (CST)
> To: klarinet@-----.org
> From: Martin Pergler <pergler@-----.edu>
> Subject: Why I can't play in tune: a clarinetist's apology
>
> As an enthusiastic amateur, I've heard a lot of good advice about
> intonation, some useless advice too, but little systematic info
> about where the problems come from. So I took a stab at writing a
> short article on what (in my albeit limited experience) causes
> intonation problems and what we as players can learn to do better. I
> would much appreciate any feedback or commentary. It's at
>
> http://www.math.uchicago.edu/~pergler/tuning.html
>
> --
> Martin Pergler pergler@-----.edu
> Grad student, Mathematics http://www.math.uchicago.edu/~pergler
> Univ. of Chicago
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 16:09:45 +0100
> To: klarinet@-----.org
> From: Tony@-----.uk (Tony Pay)
> Subject: Re: [kl] Why I can't play in tune: a clarinetist's apology
>
> On Wed, 25 Nov 1998 03:30:39 -0600 (CST), pergler@-----.edu said:
>
> > As an enthusiastic amateur, I've heard a lot of good advice about
> > intonation, some useless advice too, but little systematic info
> > about where the problems come from. So I took a stab at writing a
> > short article on what (in my albeit limited experience) causes
> > intonation problems and what we as players can learn to do better. I
> > would much appreciate any feedback or commentary. It's at
> >
> > http://www.math.uchicago.edu/~pergler/tuning.html
>
> Just skimming through, there's a wrinkle you might want to add, though
> given the difficulty I just had writing it down, perhaps not:-) But as
> a physicist, you might do better.
>
> The sound of a wind instrument like the clarinet, which is a driven
> oscillation, is different in character from the sound of a piano, harp
> or percussion instrument, which is an oscillation that is set in motion
> initially by the player and then decays by itself. Piano manufacturers
> are at pains to minimise this difference by careful design, but you can
> hear an extreme example of the sort of problem the difference creates if
> you try playing in tune with the sound of a bell, which is not designed
> to minimise the difference.
>
> The effect of the difference shows up in our perception of pitch,
> because the perceived pitch of any sound does not simply depend upon its
> fundamental frequency of oscillation. It also depends on the other
> frequencies that are 'present' in the sound. This is a fact of
> psychoacoustics, by the way, not a fact of acoustics itself.
>
> The sound of a bell contains higher frequencies that are not whole
> number multiples of the lowest, because the bell, due to its shape, has
> a number of independent modes of vibration that are all present just
> after it is struck, and persist independently. Nevertheless, our ear
> and brain 'try' to hear the bell as one pitch plus a timbre rather than
> a straight chord, and that one pitch is assigned by our hearing
> mechanism on the basis both of the lowest frequency and on the results
> of an attempt to fit the remaining 'rogue' partials into the framework
> of a harmonic series of a lower frequency -- a sort of 'implied'
> fundamental.
>
> Then, roughly speaking, we hear the bell at a pitch that corresponds to
> a frequency midway between the lowest frequency present in the sound and
> the frequency of that 'implied' fundamental.
>
> The 'driven' sound of a wind instrument, on the other hand, settles into
> a steady state in which the first few upper partials *are* in a whole
> number, harmonic series relationship with the fundamental, so in this
> case the fundamental implied by the upper partials coincides with the
> real fundamental.
>
> The upshot is that the pitch that a clarinet needs to be at to sound
> 'the same note' *following* a note on a piano, harp, or (worst case
> scenario) bell, may be different from the pitch it needs to be at to
> achieve 'zero beats' when it plays *together* with a note on a piano,
> harp or bell. Worse, when the two instruments play together, they can
> sound out of tune, but changing the pitch of the clarinet doesn't help.
>
> Ain't that strange?
>
> String instruments are an intermediate case, because the bow mechanism
> doesn't constrain the vibrations of the string to harmonicity to quite
> the same extent as the blowing mechanism on wind instruments. This
> also means that string instruments can tolerate more out-of-tuneness
> before sounding terrible than wind instruments.
>
> Another thing you might want to mention is the degree to which an
> assessment of whether something is in tune or out of tune is learned.
> If I listen carefully to a piano, I find I can become aware both that it
> *is* out of tune, and that I accept it *as in tune*. This is even
> clearer in the case of the organ -- listen to the beginning of a simple
> passage of harmony on an equal-tempered organ, and then imagine as you
> listen that it's being played by the New York Philharmonic wind section.
> Shock, horror, wince!
>
> One more: I know this is controversial, but I'm satisfied myself: the
> glissando is less to do with embouchure than with mouth shape, ie tongue
> position. (This probably needs a separate post.)
>
> I thought your article was very good and informative, and a contribution
> to understanding these matters.
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE
> tel/fax 01865 553339
>
> "...his playing soars so freely, one is aware of witchcraft without
> noticing a single magical gesture."
> (C.D.F.Schubart on the harpsichord playing of C.P.E.Bach)
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 03:45:54 -0600
> To: <klarinet@-----.org>
> From: "Carl Schexnayder" <carlsche@-----.net>
> Subject: Re: [kl] Chosing Reeds
>
> Hi Stephanie,
>
> I think you'll find that the Grand Concert Thick Blanks by LaVoz/Ricco are
> what you're looking for. They're basically the same as V-12's, but much
> more consistant.
>
> Carl Schexnayder
>
> Stephanie Wrote:
>
> >Hello fellow clarinetists,
> >
> >I play on Vandoren V-12's (3 1/2) I am not very pleased with them right now
> >and i have been playing on them for around 1 1/2. They just seem to be
> getting
> >worse and worse for me. Can anyone recommend good reeds that last for a
> while?
> >Or any reeds that you have just been impressed with.
> >
> >Thanks,
> >Stephanie
> >
> >-------------------------------------------------------------------------
> >
> >
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 04:31:20 -0600
> To: <klarinet@-----.org>
> From: "Carl Schexnayder" <carlsche@-----.net>
> Subject: Re: [kl] New, Improved "Clarinet Books and More" in its own domain on Sneezy II
>
> Hi Gary,
>
> Your new site looks great! I look forward to using it!
> Carl Schexnayder
>
> Gary Wrote:
>
> >I am excited to announce that (with more than a little help from Mark
> >Charette) my web site " Clarinet Books and More" is now in its own domain
> >(vcisinc.com) and running on Sneezy II.
> >
> > http://www.vcisinc.com/
> >
> >The site features many clarinet books and CDs that you may find difficult
> >to get else where such as Tom Ridenour's Clarinet Fingerings and Alan Sim's
> >Clarinet Fingerings (also know as 303 Clarinet Fingerings and 276 Trills
> >from Twydds Music in the UK). Our CDs include Floyd Williams'
> >"Dreamtracks" CD imported from Australia and both of the Caracas Clarinet
> >Quartet's CDs which feature music by Latin American composers. These items
> >are in stock in Las Vegas.
> >
> >In addition, we have a section of the web site which enables you to buy
> >clarinet and other music books and CDs from Amazon.com. The classical
> >clarinet CD section has been greatly expanded and now features 65 clarinet
> >CDs.
> >
> > I am particularly interested in learning of list members favorite clarinet
> >CDs (currently available) and will add them to the list.
> >
> >Thank you,
> >
> >Gary
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 05:48:02 -0500
> To: klarinet@-----.org
> From: Bill Hausmann <bhausman@-----.com>
> Subject: Re: [kl] The Adventure Begins
> Message-Id: <3.0.1.32.19981125054802.00a03724@-----.com>
>
> At 04:04 PM 11/24/98 -0600, Dee Hays wrote:
> >1. What was the method to clean out the deposits in a mouthpiece? I know
> I've seen it but don't remember. I have sanitized it but that doesn't
> remove the deposits of course.
> >
> The acetic acid in vinegar will usually do the trick.
>
> Bill Hausmann bhausman@-----.com
> 451 Old Orchard Drive http://www.concentric.net/~bhausman
> Essexville, MI 48732 http://members.wbs.net/homepages/z/o/o/zoot14.html
> ICQ UIN 4862265
>
> If you have to mic a saxophone, the rest of the band is too loud.
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 09:21:29 EST
> To: klarinet@-----.org
> From: JCLizmod@-----.com
> Subject: Re: [kl] band literature
>
> I know- Louis Prima is the only name credit on the music.
>
> Kaylen
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 09:57:28 -0500
> To: klarinet@-----.org
> From: "David C. Blumberg" <reedman@-----.com>
> Subject: re:Flat Fingers
> Message-Id: <4.1.19981125095423.00a19ef0@-----.com>
>
> Date: Tue, 24 Nov 1998 21:52:41 -0500
> To: <klarinet@-----.org>
> From: "Mark Charette" <charette@-----.org>
> Subject: Re: [kl] THIRD FINGERS STRAIGHT?
> >Edwin V. Lacy and Mark Charette, whose opinions always deserve respect,
> >both took issue with Roger Garrett's dictum that a clarinetist's third
> >fingers should be straight.
> Ah, but I didn't. I brought forth a counterexample to a piano teacher's
> rule. I brought this up with my piano teacher a few years back, and she
> told me "You can keep your fingers flat when you play like Horowitz."
> I did a fair bit of research on Horowitz, and came to the conclusion
> that he _always_ played with flat fingers and dropped wrist, even when
> he was very small (some anecdotes by former teachers brought this to the
> forefront in a few biographies I read).
> He fought his teachers, and won in the end. Would he have been as good
> had he lost the fight? I don't know, but I doubt it.
> <snip>
> >The
> >reason is simple. It's what works best for most of us.
> And a good teacher (who will also be a good student) will see what works
> for the few who don't fit the mold.
> ----
>
> ============================================================================
> ===========================
>
> I studied Piano (pedagogy) with one of Horowitz's 5 (he only taught 5
> students his whole life), and he did not teach , nor use the flat fingers
> technique.
> David Blumberg
> reedman@-----.com
> http://www.sneezy.org/clarinet/Music/Blumberg.html
> http://members.aol.com/cwindz/galper.html
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 10:09:28 -0500
> To: <klarinet@-----.org>
> From: "Mark Charette" <charette@-----.org>
> Subject: Re: [kl] re:Flat Fingers
>
> >>The
> >>reason is simple. It's what works best for most of us.
> >And a good teacher (who will also be a good student) will see what
> works
> >for the few who don't fit the mold.
> >----
> >
> >=======================================================================
> =====
> >===========================
> >
> >I studied Piano (pedagogy) with one of Horowitz's 5 (he only taught 5
> >students his whole life), and he did not teach , nor use the flat
> fingers
> >technique.
>
> So? My point being that if in fact a student does better using an
> unorthodox technique, and "standard" techniques do not improve the
> students abilities, then the good teacher will learn from this and help
> the student using those abilities that the student has, or will refer
> the student to a teacher who can work with those abilities. (OB run-on
> sentence).
> ----
> 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: Wed, 25 Nov 1998 10:39:01
> To: klarinet@-----.org
> From: Lee Hickling <hickling@-----.Net>
> Subject: Re: [kl] Choosing Reeds
> Message-Id: <3.0.5.16.19981125103901.09971846@-----.net>
>
> I've been wondering why nobody mentions the method I've always used to
> choose reeds--hold them up to a strong light. With a little practice, one
> can judge not only their stiffness but their overall quality and probable
> responsiveness. Even in a box of Ricos I can usually find a couple of
> winners that way. Is this just too universal a practice to be worth
> mentioning, or is it something that some of the younger subscribers never
> heard of?
>
> Lee Hickling <hickling@-----.net>
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 10:36:20 -0600 (CST)
> To: klarinet@-----.org
> From: Roger Garrett <rgarrett@-----.edu>
> Subject: Re: [kl] Choosing Reeds
> Message-Id: <Pine.A32.3.94.981125103344.37256B-100000@-----.edu>
>
> On Wed, 25 Nov 1998, Lee Hickling wrote:
>
> > I've been wondering why nobody mentions the method I've always used to
> > choose reeds--hold them up to a strong light. With a little practice, one
> > can judge not only their stiffness but their overall quality and probable
> > responsiveness. Even in a box of Ricos I can usually find a couple of
> > winners that way. Is this just too universal a practice to be worth
> > mentioning, or is it something that some of the younger subscribers never
> > heard of?
>
> I have several tests including the light test:
>
> 1. The play test - play on each side of the reed (corners) to test
> for balance.
>
> 2. The feel test - when the reed is wet - bend at the tip and feel
> for resistance - notice where the anomalies are and adjust.
>
> 3. The look test - best if done with a florescent light (Steve - you
> need to check my spelling on that word!).
>
> 4. When all else fails - the throw away test - am I better off
> without the darn reed?
>
> Roger Garrett
> Illinois Wesleyan University
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 11:26:47 EST
> To: klarinet@-----.org
> From: LeliaLoban@-----.com
> Subject: Mannerisms (was: Third fingers straight?)
>
> Lee Hickling wrote,
> >>Edwin V. Lacy and Mark Charette [snip] cited several virtuosi, including
> pianists Horowitz and Van Cliburn, as examples of great musicians who violated
> the rule that a pianist's elbows should be above the wrists, the back of the
> hands about flat, and the fingers in a gentle, natural curve. To that list I
> could add Bud Powell, Nat Cole and some other great technicians among jazz
> pianists.... >>
>
> The most bizarre example I've ever seen of "incorrect" technique that worked
> for a genius (and would be an utter disaster for most people) was pianist
> Glenn Gould. I went to one of his last "live" concerts, with the San
> Francisco Symphony Orchestra. I can't even remember who conducted, but Gould
> played the Bach D Minor concerto and the Schoenberg concerto. I think this
> must have been in the winter or spring of 1963, when I was a high school
> freshman. He was a notorious eccentric. The concert attracted a number of
> people who didn't seem to be "regulars" in the symphony audience. Apparently
> they saw him as a freak show and went there to laugh (one reason why he
> stopped performing in public a year or so later).
>
> Even some members of the orchestra visibly had trouble keeping their faces
> straight. I admired Gould, yet I had a hard time sitting still and acting
> respectful as he ran through the entire repertory of everything my piano
> teacher warned me against. (In fact, my teacher used him as a favorite bad
> example if he caught me sitting with poor posture: "Don't play ze notes vit
> your nose! Vhut, do you vant to look like GLENN GOULD?!" The ultimate
> horror! -- although I would have died happy to play like Glenn Gould, even if
> I'd had to look like him!) He sat on a stool so low that his elbows were
> below keyboard level, with his hands bent upwards at the wrists, at an angle
> that would destroy most pianists' tendons. He writhed and swooped and swan-
> dived, sometimes with his face contorted into an excruciated expression inches
> above the keys. Sometimes, he would lean waaaaay backward with his head
> thrown back and his eyes rolled up to the heavens (or at least to the
> ceiling...), and then pounce forward with his hands like claws. When he
> played with only one hand, he gesticulated and "conducted" wildly with the
> other. He groaned, hummed and muttered, not just audibly but loudly. And for
> all that, he played like the master he was. Watching him get away with it
> gave me a secret thrill of rebellious delight. But no, I never deluded myself
> that I could get away with imitating him!
>
> Plenty of clarinetists, expecially jazz players, develop mannerisms, too, such
> as craning back and pointing the horn at the rafters, or hunching forward and
> "stirring the pot." I don't think I could get away with that stuff,
> either....
>
> Lelia
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 11:35:44 EST
> To: klarinet@-----.org
> From: CmdrHerel@-----.com
> Subject: Flat fingers and tension
>
> I'd like to point out that to everything there is an exception. So if we
> decide that physically, lightly arced fingers are more ergonomic than flat
> ones, there will ALWAYS be someone from history or present who plays like a
> madman with flat fingers, his teeth on the reed and a slumped back.
>
> So the argument that Joe Flat is truly AMAZING with flat fingers, does not
> support that it's fine to play with flat third fingers.
>
> As a teaching technique, although I would not use it, I do understand how you
> are using the flat third finger to set hand position. I myself use some other
> "bad" habits to teach kids how to move their fingers correctly and to teach
> hand position.
>
> One that I use is to lift the fingers HIGHER than necessary in order to get
> them to lift correctly (from the back knuckle and not the middle). Without
> exaggerated motion, we can't always tell if it's moving the right way.
> Reducing the height of the motion later on after the finger's moving correctly
> has always been easy.
>
> In lines with the "flat third finger" I do sometimes have students keep a
> pinky lightly on the low E keys during some exercises to help hold the hand
> position in place. Not for long, though, as a student can pick up the habit
> of anchoring the pinky on that key and using it as a pivot point for hand
> motion.
>
> But teaching a flat finger to arc later on *can* be very difficult.
> Especially the weak ones: Ring and pinky. The little "things" that hold the
> arc are very weak in those fingers and encouraging a flat finger will not let
> them get stronger. (I myself spent six months on one dang pinky that I could
> not get to arc and I won't even TELL you how I solved it! )
>
> My reason for arced fingers? When you hold your hand loosly at your side,
> your fingers arc. They don't flatten out. In order to flatten them, you have
> to tense them. And I avoid ANY and ALL extra tension in the hands no matter
> how minuscule. Some tensions can't be avoided, but flattened fingers
> certainly can.
>
> Remember, just because some can play beautifully with no tension or problem
> with flat fingers, does not support that this is a valid technique. As a
> surivivor of hand problems, I am a supporter of using the safest, least tense
> methods of hand motion for all my students. I feel there are much better ways
> to teach hand position than with flattened third fingers.
>
> Teri Herel.
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 10:55:59 -0600 (CST)
> To: klarinet@-----.org
> From: Roger Garrett <rgarrett@-----.edu>
> Subject: Re: [kl] Flat fingers and tension
> Message-Id: <Pine.A32.3.94.981125105042.21281B-100000@-----.edu>
>
> There has been some confusion regarding my inital post regarding a
> straight third finger approach to beginners which has, unfortunately, gone
> on to become "flat" fingers! Part of the problem was that I was listing
> the straight third fingers as an example of what I do without much
> explanation beyond that description. Tony Pay is now doubling over with
> laughter I am sure - for this post confirms his earlier!
>
> Specificaly - I advise students to check their hand postion by anchoring
> their third fingers and looking down - are the third fingers nearly
> straight or straight? (notice that I don't use the word flat or the word
> tense) Are the fingers of the left hand over the Ab key and of the right
> hand near or over the 1st trill key?
>
> I do not advocate tension, nor do I expect the third fingers to be
> absolutely straight (to be checked with a metal 6 inch rule) - I simply
> want the fingers to be at an angle in which these particular fingers are
> more straight than the others. A simple check of my students in the
> studio will reveal that they do not have tension in the third fingers of
> the right or left hands (right Rachel???).
>
> Roger Garrett
> Illinois Wesleyan University
>
> ------------------------------
>
> Date: Wed, 25 Nov 1998 10:39:02 -0600
> To: klarinet@-----.org
> From: Richard Sankovich <sanko@-----.edu>
> Subject: Overblowing problem
>
> > I have a problem that has bothered me for several years. When
> > playing the A 2
> > spaces above the staff, (thumb and 2 fingers of left hand) I
> > can too easily
> > get the 6th above it (not in tune). I mean very easy. I am
> > naturally afraid of
> > this note.
> >
> > Jack Dannenberg
>
> Jack: I have experienced the very same problem, on nearly every
> note in the clarion register. It was suggested to me by several
> Klarinet list members that I adopt a rounder embouchure, i.e.,
> less of a "smile", by pulling the corners of my lips closer
> towards the mouthpiece. That pretty much took care of the
> problem, so I hope that will be the case for you, too.
>
> I'll also mention that if you can learn to control this
> overblowing (make it happen when you want it to), it can be an
> asset rather than a problem, by providing you with alternate
> fingerings for some of the notes in the altissimo range. I used
> this technique just last Sunday in our wind ensemble concert
> where there were a lot of altissimo G, G-sharp, and A's to play
> at a fast tempo. For example, I can jump (tongued, but not
> slurred) from the altissimo E-flat (played with the forked
> fingering) to the G-sharp above, and back down, with NO finger
> movements whatsoever, using only a VERY slight tightening of my
> throat (which probably causes an imperceptable embouchure
> change). Same for going from altissimo F (using the usual
> "short" fingering) up to A. (These intervals are not the
> approximate sixths that you mentioned because I am talking about
> overblowing altissimo pitches instead of clarion ones; same idea,
> though.)
>
> ----Richard Sankovich; sanko@-----.edu
>
> ------------------------------
>
> End of klarinet Digest
> ***********************************

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