Klarinet Archive - Posting 000366.txt from 2000/10

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: Re: [kl] Molto Difficile
Date: Sun, 8 Oct 2000 08:56:45 -0400

----- Original Message -----
From: Michael D. Moors

How about the Bozza Concerto??????? Not a walk in the park either.

It`s been very interesting to see so many different points of view re- this
little diversion. I never expected quite so much interest.
We are, as clarinettists, as has been seen, all totally different with our
thinking, and different also, in our intellectual and practical approach to
building technique, in ways which help us approach the mastering of any
"said" works, irrespective of what technique/study books we use to prepare.
The way we handle this approach, and the direction it steers us in,
eventually creates a "hunger" within us for the "perfect" performance. We
have such wonderful teachers who are also continually searching for ever
more logical ways to pass on to the student the "evasive" point, which at
first may not have been understood. The manufacturers also hold some
smallish interest in this, (I hope), especially the small individual maker
of mouthpieces. I believe it is in the mouthpiece direction where a lot of
technically "difficult" music may be found to become manageable, even
easier, (if not easy). The response of the reed, in it`s close relationship
with the mouthpiece has had a lot of air time here recently, and the search
for the "perfect" set up should not be overlooked. No matter how even or
agile the fingers can move; no matter how fast the eyes and brain can think;
no matter how brilliantly constructed the instrument is, we will not be able
to execute a "storm of notes" at all properly, if the reed is not able to
sympathise with the mouthpiece, (and vice versa), and if our
mouth/embouchure is not able to "pick up" the appropriate "message" from the
reed/mouthpiece, (and vice versa). A 4-directional highway! The 4th
Dimension if you like. The 6th, 7th, 8th, and 9th senses. This particular
embouchure development technique can be looked upon as the all important
aspect of all the different chapters in the tutor books. Yet they hardly
touch on the subject.
I believe that the student could begin to be versed in the subject in a
primary way, from the outset of learning.
They are then forewarned, and prepared for the later period of
experimentation (and cost) of mouthpieces/ligatures etc.
Moreover, I would also like to see the manufacturers seek an industry
standard, which is more accurate than what we have at present. Both
mouthpiece and reed settings/strengths are far from us being able to compare
with reasonable accuracy. If you play a round of golf with 3 colleagues,
all the clubs might have different manufacturers, but the angles of all the
number 5 irons will be the same. The sand wedges will all scoop the ball out
to within 10 centimetres of the pin, even tho` individual techniques may be
different. Should an iron angle _be_ different if the technique of the
individual is different? They`re not tho` are they!? Embouchure development
is probably a little more complicated than that example. But is it? Think of
the science of the golf swing. Every single "body scan" of movement has to
be analysed before it becomes an accurate swing.
If manufacturers are indeed taking an interest in embouchure and tone
development, as opposed to just turning out the "latest model", then they
could at least show us that they are a little more. Perhaps a conference to
discuss this issue; to conform to a set of similar standards would result in
easier comparisons, and, I would think, if development of tone/response is
made easier, more sales!
Best,
Tony W.

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