Klarinet Archive - Posting 000251.txt from 2000/03

From: "J. D. Kent" <boris@-----.com>
Subj: Re: [kl] Definitive Ligature Advice
Date: Wed, 8 Mar 2000 11:01:37 -0500

Thank you Kevin,

A marvelous piece of literature. This is certainly going to be filed
away for future reference. Being a beginner I can now rest assured
knowing that I can safely steer clear of the deadly "bottom ten."

Dave

"Kevin Fay (LCA)" wrote:
>
> Hey listmates--
>
> On reviewing the vast stream of mail over this subject, it occurred to me
> that we are failing the young and new. Sure, linguistic hermeneutics are
> fun and all, but what should we actually tell kids about the little thingy
> that holds the reed on?
>
> We could point out that most any ligature on the market is used by *someone*
> to get a great sound. You can use anything from a cheap 2-screw metal one
> (like Stanley Drucker) to one of those really expensive Optimums (like Larry
> Combs), or even something tried and true like a Bonade (like, well, Bonade).
> All of those are acceptable, but only if you're willing to sound like
> Drucker, Combs or Bonade.
>
> On the other hand, there are some ligatures (or similar devices) that you
> should steer clear of because they are not performance enhancing. I thought
> that I'd provide a list of the "bottom ten" that should not be used. All my
> opinion, of course.
>
> 1. Thumbs.
>
> You thumb makes a dandy ligature -- tends to hold the reed on with just the
> right amount of pressure. While very useful for things like trying reeds
> out, the use of the thumb does limit your performance possibilities
> somewhat. In particular, should you use your left thumb to hold the reed
> on, you tend to be limited to playing only one note -- open G -- and the
> harmonics thereof. Unless you are playing Cage's 4'33" you will need to
> play more notes than that.
>
> Some folks use the *right* hand thumb. This opens up an entire palette of
> notes for use. You can now play Ignatz Gertz' clarinet concerto for the
> left hand. If you need any of the notes produced by the lower joint,
> however, you need to use something else.
>
> Major orchestras have fixed this problem by hiring "Assistant Principals"
> for their first chair players. With this person holding the reed on for
> you, you can now play all of the notes you need. Even so, switching the
> mouthpiece from horn to horn is a bother. Plus, you need to trust the
> assistant not to let go of the reed when you have your solo -- not that they
> want your job or anything.
>
> 2. Screws.
>
> Lets say that you've done it all with the Reed Duall, and then spiffed it up
> with the PerfectaReed. You now have the definitive, best reed ever.
> There's really no reason to screw it up with a ligature, just drill a pilot
> hole through it into your mouthpiece and affix it to the mouthpiece with a
> wood screw! If it ever gets loose, another quarter turn of the screw will
> set you right up.
>
> There's lots of debate in the single-reed (ever) community over the use of
> one screw versus the use of two (or more), and how much you should tighten
> the top screw versus the bottom. Some debate whether the extra resonance
> from the additional mass of the Phillips screw head darkens the sound, or if
> the normal slot screw is OK. Some nuts use wing nuts! All open issues for
> further research.
>
> The only problem we've found with this approach is that the table of your
> mouthpiece is no longer flat, and may not be suitable for use with other
> reeds after this treatment. So be sure that you've found the perfect reed
> to put on first, lest you be screwed with the wrong reed.
>
> 3. Krazy Glue.
>
> Modern science has given us adhesives that will bind dissimilar materials --
> like reeds and mouthpieces. You don't need a screw anymore; just put your
> perfect reed on with Krazy Glue!
>
> An advantage to Krazy Glue is that, with the proper use of acetone, you may
> even be able to remove the reed so that you can try another one. Just soak
> the entire mouthpiece in acetone for a day or so. If it doesn't dissolve
> completely, you can give it another try. In addition, the possibility for
> practical jokes w/ Krazy Glue will certainly lighten up your rehearsals.
> Teachers take note.
>
> Be careful, however, to make sure that the Krazy Glue is absolutely dry
> before playing -- else you will find a whole new meaning to the "tip-to-tip"
> tonguing technique.
>
> 4. Duct Tape.
>
> Otherwise known as the Red Green solution, duct tape can be used to fix most
> anything. It will hold your reed on for sure. The white sticky glue that
> holds it on isn't much different from Krazy glue, it just doesn't taste so
> good.
>
> The upside is that you can tear off a little piece for those emergency pad
> repairs, fix the odd crack, or hold the muffler onto your car. If you use
> half the roll, you can free up one of your car's hose clamps, too (see
> below).
>
> 5. Rubber Bands.
>
> In a pinch, you can secure your reed to your mouthpiece with a rubber band.
> It's a snap. Please note, however, that the applicable verbs here are
> "pinch" and "snap." For those of use with facial hair, use of a rubber band
> can be quite painful unless you are very careful.
>
> Kids note -- the rubber band has other uses. You can use it as a weapon to
> distract the first chair player during their solo. It's a snap!
>
> 6. String.
>
> As we all know, Germans have been tying their reeds on with string for a
> long time. Unfortunately, it can take a long time to do the string thing.
> Military historians have generally agreed that the greater speed of affixing
> reeds with metal ligatures was the determining factor in the Allies' victory
> in the Second World War -- so maybe this isn't such a good idea after all.
>
> David Pino recommends the use of flat shoestring in his book. It works OK,
> as long as you remember to remove the string from the shoe first.
>
> 7. Wire.
>
> Closely related to the string ligature is the wire ligature. It looks like
> a string ligature, except you use wire. Wire tends to hold its shape better
> than string. You do need to be careful to tuck the ends in, though, else
> (in the words of my mother) "you could put your eye out with that thing!"
>
> You can make an inexpensive wire ligature by stealing a couple of twist ties
> from the produce section of your local grocery. Generally, twist ties have
> a spiffy paper covering. This would therefore be the "covered" model of the
> wire ligature, sort of like Charles Bay's. For a darker sound, use thicker
> wire (like stereo cable from your local Radio Shack).
>
> The very best wire ligatures are make from "barbed" wire. In addition to
> making sure that the student does not hold the clarinet too close to the
> chin, the barbed wire ligature makes the clarinet a much more effective
> weapon for use at away football games. (A strong suggestion is to use a
> less expensive metal clarinet for this -- they are easier to sharpen).
>
> 8. Hose Clamps.
>
> There really is no need to go to a music store to pay several dollars for a
> ligature. Auto supply stores carry a product remarkably similar for just
> pennies: radiator hose clamps. (If you don't have a buck, just take one off
> your car -- you can drive miles before you'll really need it.) They come in
> all sizes, one will fit your mouthpiece for sure.
>
> The only downside to hose clamps is that a screwdriver is necessary to
> adjust the tension. This should not be a problem, however, since clarinet
> players *always* have a screwdriver in their case for the purpose of messing
> up their instruments. To be sure, hose clamps will scratch up your
> mouthpiece, but you'll more than make up the cost savings with the lower
> initial price.
>
> 9. C-Clamps.
>
> A close relative of the hose clamp is the C-clamp, available in any hardware
> store. They're better than hose clamps because they cost more money. They
> are also designed to be used with wood, and reeds are kind of like wood,
> right?
>
> You need to be careful, however, not to use a clamp that is too big. If you
> use the inverted C-clamp -- that is, with the hand screw pointing skyward --
> a large one will block your view of the conductor more than a Texan flute
> player with big hair. OTOH, the long bolt of the non-inverted style might
> dig into your chin or -- for the larger, bass C-clamp -- even your throat.
> This makes both quiet and loud passages difficult.
>
> 10. The Perpetrator.
>
> The very worst ligature that there is, however, is the one on your clarinet
> when you screw up bad. If you can convince yourself that it was the
> ligature's fault, you don't have to take personal responsibility for not
> selecting a decent reed, or practicing, or learning your part etc. Just try
> a different one!
>
> . . . obviously with too much time on my hands today.
>
> kjf
>
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