Klarinet Archive - Posting 000957.txt from 1999/12

From: "David B. Niethamer" <dnietham@-----.edu>
Subj: [kl] Intonation/Buffet and mouthpieces (was: Clarinet oiling?)
Date: Tue, 28 Dec 1999 22:59:18 -0500

on 12/27/99 11:42 AM, John W. Sheridan wrote:

>I don't know if it's the "power of suggestion" or not but having exchanged
>information on the Selmer bulletin boards, the general concensus seems to be
>that many players seem to have difficulties in tuning the Buffet. I do feel
>that playing in tune with others requires frequent "adjustments" of
>embouchure, especially in the open throat tones and wonder if a different
>clarinet would improve consistancy.

I can't think of a single clarinet that can be played in tune without
some adjustment on the part of the player. First of all, the instrument
has to be designed to fit the human hand, and to some degree that makes
ideal placement of the various tone holes difficult to say the least.

Then there's the issue of playing in tune with others in context.
Gertrude Stein to the contrary, a Bb is **NOT** a Bb is not a Bb, etc. It
is one thing in the key of Bb, and another in G minor, not to mention its
role as A# in B major or F# major (speaking here of the necessity for the
clarinet to produce both notes with one fingering).

While I play Yamaha clarinets in partial frustration with Buffet's
unwillingness (in the past, less so now) to address well known tuning
deficiencies, I don't find any one brand of clarinet to be the "hear and
die" answer to intonation difficulties. And that's before we start to
discuss the variation in individual clarinets from a particular
manufacturer, and within a particular model of instrument from that
manufacturer. And then there's the mouthpiece that you put on it.

>I notice a similar focus on various mouthpieces in both clarinet
>groups and it's even worse in saxophone dialogue - the constant "search" for
>an ideal mouthpiece. I had a repairman comment to me recently that he felt
>one should settle on a single mouthpiece and adjust to it and I tend to
>agree. I've seen comments from individuals with a collection of more than
>50 different mouthpieces they've accumulated over a number of years and have
>to wonder at the wisdom of this approach. Combine this with a multitude of
>ligatures and reeds available and one could spend a lifetime just trying out
>the various combinations.

Of course it's easier (if not cheaper!) to find a mouthpiece to cover the
perceived deficiencies of one's playing than to study the problem and
practice the solution!! Having just been through a four year search to
replace a much loved Gigliotti, I can tell you that settling on one
mouthpiece can be difficult. Mouthpieces that seem wonderful in the short
term can end up causing more problems than they solve, and may not mature
into a useful solution. With heavy use in a professional situation, wear
is a factor, and replacement becomes a necessity on occasion. But in
general, yes, find something and learn to play it. The reeds are hassle
enough!

Cheers! And best wishes for the holiday season to all!

David

David Niethamer
Principal Clarinet, Richmond Symphony
dnietham@-----.edu
http://members.aol.com/dbnclar1/

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