Klarinet Archive - Posting 000593.txt from 1999/05

From: Bill Hausmann <bhausman@-----.com>
Subj: Re: [kl] darkbrightdarkbrightdarkbright
Date: Fri, 14 May 1999 03:51:58 -0400

At 04:29 PM 5/13/99 -0400, Bill Fogle wrote:
>I was reading Fred J.'s message about "dark @-----." I just got my Selmer
Series 9 (no, not 9*) back from the shop (Steve Fowler of Pasadena,
MD--best repairman in the world). It's my first experience playing a "not
dark" instrument. I thought, "Ah, at last, a jazz instrument." Actually,
though I love the instrument (it's exquisitely built and lovely to hold),
I've yet to discover how in any way this clarinet would promote more
"jazzier" playing. Frankly, I have less play with the tones than I do with
an undercut instrument. The (significant) tuning problems are manageable,
but I've yet to discover (it's only been 2 weeks) what this clarinet can
offer me. To me, jazz can be made as easily with a heavy set-up as with a
"light" one. Perhaps what what characterizes "jazz" is the resulting tone
quality rather than the flexibility of the individual tones for the player.
I've been listening to Tony Scott and Pee Wee Russell. Where does that
sound come from?
>
An open mouthpiece and a soft reed, for starters, to give much flexibility
to "bend" and "scoop" notes.

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.

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