Klarinet Archive - Posting 000855.txt from 1999/10

From: "Daniel A. Paprocki" <danbascl@-----.com>
Subj: Re: [kl] should the embouchure move?
Date: Wed, 27 Oct 1999 22:33:52 -0400

Tony,
I feel honored that you consider my question naive. Considering the
topics that are sometimes on the list I put forth this question so that the
pros and cons could be considered. Since there are many players of a wide
range of levels from high school to professional I thought that this would
be an interesting topic to discuss. Was I wrong? I thought that people
would contribute their views or views from legends that they studied with,
such as Marcellus, Hasty, Brymer etc. Sorry for my curiosity

Dan

----------
>From: Tony@-----.uk (Tony Pay)
>To: klarinet@-----.org
>Subject: Re: [kl] should the embouchure move?
>Date: Wed, Oct 27, 1999, 6:40 PM
>

> On Wed, 27 Oct 1999 08:50:15 -0500, daniel.paprocki@-----.edu said:
>
>> Should the embouchure move with playing in different registers? I've
>> heard arguments on both sides. If so, why? or if not, why not?
>
> As will be no surprise at all to anyone who has read several posts I
> made last year here, about 'shoulds', I find this sort of question
> highly naive, misleading, and therefore well worth challenging.
>
> David Niethamer made, I would also say unsurprisingly, the intelligent
> response, namely, 'yes and no'.
>
> It all depends on what you want. We have many variables at our disposal
> when we play the clarinet: air pressure, embouchure pressure, tongue
> position, embouchure position, and more, including choice of reed and
> mouthpiece. All of these, in combination, determine the output, not
> only for one note, but for intervals, and groups of intervals. The
> tonal variety within a group of intervals (sometimes called a 'passage',
> the notes of which may lie in different registers, or within the same
> register) is what determines, and enables us to produce, a given musical
> effect.
>
> Given that there are many possible musical effects that we may want in
> such a situation, how can anyone possibly say what we should or should
> not do?
>
> If you're a director of a play, say, you discuss with your actors *what
> result you want*. You don't tell them how they should move their
> tongues and lips when they speak. Or, if you do (most unlikely, I would
> say), you do it *face to face*, in particular cases, and not in
> generally dogmatic pronouncements.
>
> Please excuse my frankness (or actually, in several cases, don't), but
> promoting such an approach is simply bullshit. And there's a good deal
> too much of it here, in my opinion.
>
> I have talked to a number of professional clarinettists -- or rather,
> professional musicians who play the clarinet -- in the US. Several of
> them tell me that they cannot read this list for any length of time,
> because they become too angry when they do.
>
> Perhaps this is why.
>
> (Of course, you write what you must;-)
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
> ... Meandering to a different drummer.
>
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