Klarinet Archive - Posting 000872.txt from 1999/05

From: mark gustavson <mgustav@-----.com>
Subj: Re: [kl] Dark Tone
Date: Tue, 18 May 1999 17:33:41 -0400

Yes, I agree with Mr. Galper. When I was 15 I was studying with a very good
teacher in Chicago. I was working on Weber's Concertino and playing on a
Normandy I had since I was eight and a using a crummy no name mouthpiece. I
could play the piece well and was preparing for a contest. But it was a
struggle. At that point my teacher sold me one of his Kaspars for a whopping
$30. Of course everything went up a level--tone, staccato and control. As we
have discussed in the past the mouthpiece is more critical than anything save
the performer. But my teacher, prior to the Kaspar, had taught me good
mechanics and instilled the idea of imagining the sound I wanted and with his
help I got it. The Kaspar made that it easier to achieve and when, I not soon
after, got an R-13 everything got even easier to achieve.

MG

"Kevin Fay (LCA)" wrote:

> Mr Galper noted:
>
> <<<There was a master class given by Alfred Prinz. One of the student . .
> . had a Frenchy bright sound. Prinz asked her to let him try the clarinet.
> And Lo and behold, the sound that came out was Viennese tone. And that is on
> a French clarinet that he does not ordinarily play on.>>>
>
> This phenomenon is not limited to Alfred Prinz. I have seen a master class
> where D. Stanley Hasty played (extremely well) on every setup presented. I
> suspect that he could get similar results from a Geo. M. Bundy III on the
> end of a garden hose . . .
>
> kjf
>
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