Klarinet Archive - Posting 000759.txt from 1999/09
From: Shouryu Nohe <jnohe@-----.edu>
Subj: [kl] Beginner Dillemma's
Date: Thu, 23 Sep 1999 13:21:47 -0400
> 1) Im using a 3 1/2 reed and need a little bit of force to get the
> second register out,, (actually its very little). What are the
> advantages and disadvantages of a different "strength"/number reed?
Proper reed strength is dependant upon several factors:
(in no particular order)
1 - Player experience and age.
Younger players will need softer reeds than older players in
general, simply because of muscle development. The same holds
true for more experienced players, who have excersized those
muscles daily (we should hope) for quite some time.
2 - Mouthpiece facing and curve.
Mouthpieces with a long facing will require either a harder reed
in general, or a thicker one (such as a V12), or both. Shorter
facings, or medium facings with a more open tip are better suited
with something softer. Generally speaking, your typical beginner
mpc (excluding the exceptional Fobes and Ridenour models) work
well with a 2.5 to a 3.5 (standard blank) or a 4 (thick blank).
3 - Clarinet
A small change in bore size can make a notable difference,
especially if you've become exclusive to one clarinet. I didn't
touch my A all summer, and in pulling out to play the Festive
Overture for orchestra (I like having my fingers tied in knots),
the resistance change was VERY distinct. I find that the bore
differences between beginner horns and pro horns to be very
distinct as well, and this can be compensated for by using a
slightly harder or softer reed.
> 2) any further pointers on embrochure when jumping to and from different
> notes?
Don't move it. As I was fond of pointing out before my hiatus, Klose p.
16, ex. 37 is an excellent example. A correct, stable embochure doesn't
move at the jaw or chin, even when leaping octs. or 9ths SLURRED. The
wide leaps typical in Weber, K622, and standard jazz can all be done
without moving the chin.
Further along...
> Oh you people! Next thing you know someone will be telling me to stop
> learning Benny Goodman riffs & arpeggios in the altissimo register and
> practice whole notes for the next five years. Boring!!! The high G is
> solid and the A is almost there.
Oh, of course, what the hell were WE thinking? Damn, we're such IDIOTS,
aren't we? I mean, some of us have degrees, but hell - you're GruvnRuvn.
You're smarter. Some of us have been playing for ten or so years, and -
oh wait - you're above that. You're GruvnRuvn. You're so smart and so
good, you actually know more than those of us with DOCTORATES! Hot damn -
why the hell have I been listening to all these people like Dan Leeson and
Bradley Wong and Laroy Borchert for. I mean, geez, even when you consider
the numerous years of study and performance experience they've had,
they're all effing morons compared to YOU, huh?
You can't have your cake and eat it too. Benny Goodman worked his tail
off to become as good a player as he was. NO clarinetist has ever been
exempt from the need to practice fundamentals. You can't wave a magic
wand and make your house and car and family appear. You have to work
towards getting them, and then you must continue working to maintain that
which you have worked for. Music is no different. Anyone who tells you
otherwise is selling you something.
> GruvnRuvn "Live at Carnegie", here we go.
With that attitude towards practice, not anytime soon.
J. Shouryu Nohe
A long way from Carnegie, also (but a plane ticket can always be booked).
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