Klarinet Archive - Posting 000743.txt from 1999/04

From: TOM RIDENOUR <klarinet@-----.net>
Subj: Re: [kl] Double Lip Playing-Question for Tom Ridnouer
Date: Fri, 16 Apr 1999 10:53:09 -0400

>In a message dated 4/16/99 12:52:19 AM Central Daylight Time,
>klarinet@-----.net writes:
>
><< It is the most elegant way to play in my
> >opinion, making a more vocal and string-like legato natural to playing.
> tom >>
>
>Tom:
>
>I have always been able to play double-lip. My primary teacher was John
>Mohler, himself a student of Ralph McLane, so I was exposed to it early.
>
>I find myself playing double lip more and more, on bass as well as soprano.
>
>My problem is playing while standing. How do YOU play double lip while doing
>a recital, or a concerto?
>
>I've tried several types of neckstraps. I really don't like the feel of
>playing with a neckstrap, though
>
>What do you do?
>
>Walter Grabner

Walter, I don't play that much any more, but when I did a lot of recital
playing I always sat. I saw Harold Wright play the Mozart with the BSO
several times, as well as the Copland once; he sat and read both works;
sounded simply great.
I think we have to play the way it sounds best and let the visual part go.
If I get in shape I can stand for about 10 minutes.
If I use special fingerings for high "C" and "B" that extends my endurance.
Not playing Buffet clarinets, which require so much embouchure pressure
just to keep the sound centered, especially in the upper clarion of the
clarinet, and to control smooth legato, increases my endurance about 40%.
Richard Stoltzman stands and I think he just bites the bullet and puts up
with what ever pain there might be.
Finally, playing a perfectly balanced reed/mouthpiece set up goes a long
way to increasing endurance, sitting or standing.
I can play hours, even when I am not in all that good of shape, if my
reed/mouthpiece set up is well matched in terms of balance.
Hope this helps.
tom
>
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