Klarinet Archive - Posting 000692.txt from 2001/03

From: stewart kiritz <kiritz@-----.net>
Subj: Re: [kl] The spirit is willing but the lip is weak! - from
Date: Tue, 27 Mar 2001 18:15:35 -0500

David,

I play single and with no "partial double embouchure" that is, no upper lip
partially over teeth.

Stewart

----- Original Message -----
From: "David C. Kumpf" <dkumpf@-----.com>
Subject: RE: [kl] The spirit is willing but the lip is weak! - from
aphysiologist

> Just out of curiousity...do you play single or double embouchre?
>
> -----Original Message-----
> From: stewart kiritz [mailto:kiritz@-----.net]
> Sent: Tuesday, March 27, 2001 10:57 AM
> To: klarinet@-----.org
> Subject: Re: [kl] The spirit is willing but the lip is weak! - from
> aphysiologist
>
>
> Bill,
>
> I think it is certainly possible that I was trying harder to produce an
> especially good performance when playing with the accompanist. In doing
> this I may have been placing more demands on my embouchure, which resulted
> in some muscle strain. On the other hand, last year I was able to play
for
> a greater length of time with an accompanist without as much fatigue, so
it
> is all a bit puzzling. Hopefully, an easy does it approach will result in
a
> gradual increase of my endurance. I am trying for that now. I may also
> experiment with taking 3-4 days off from practicing.
>
> Thanks,
>
> Stewart
>
> ----- Original Message -----
> From: "William Wright" <Bilwright@-----.net>
> To: <klarinet@-----.org>
> Sent: Tuesday, March 27, 2001 9:54 AM
> Subject: Re: [kl] The spirit is willing but the lip is weak! - from
> aphysiologist
>
>
> <><> Stewart Kiritz wrote:
> Is it possible that playing for too long after not playing much could
> fatigue the muscles to the extent that it takes several weeks to
> recover? I was going along playing in 20-30 minute sessions several
> times a day with no problem until about 2 weeks ago when I played with
> an accompanist for about 50 minutes [snip] From then on it seems I
> can only play for 5-10 minutes before needing a several minute break.
>
>
>
> Another aspect to look at is: Did the sudden change of musical
> environment cause you to change (perhaps without noticing it?) your
> embouchure and/or amount of breath support that your embouchure must
> contain and direct --- such that you are in fact "working harder" now?
>
> If you are in fact "working harder", is this useful (i.e., do you
> like your sound better)? If you do like your sound better, can you
> achieve the same result while also becoming more conscious of muscles
> that exert themselves unnecessarily and don't contribute to the sound
> that you like?
>
>
>
> Cheers,
> Bill
>
>
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