Klarinet Archive - Posting 000594.txt from 2001/06

From: CmdrHerel@-----.com
Subj: Re: [kl] double lipping
Date: Wed, 20 Jun 2001 12:05:18 -0400

In a message dated 6/19/01 7:28:11 PM Eastern Daylight Time,
emily.worthington@-----.com writes:

<< i've heard several people mention double lipping on the list and have to
confess to being totally bewildered - what is this? Is someone could
enlighten me i would me most grateful! >>

Basically, the farther back you sit in an orchestra, the more double lipping
you do. The clarinets, being close to the back, are prone to it. Some are
able to resist, but many succumb. The brass are a lost cause, of course.
The bassoons, next to the clarinets, tend to get away with it too.

The technique is this: Slump down in your chair so you are hidden from the
view of the conductor by the music stand. This gives you the illusion of
being out of sight. Then find any and all things going on in or out of the
rehearsal that you can possibly complain about. Then begin to complain.
Mutter so that your witty observations don't reach the front of the
orchestra. This, along with the slump, continues to preserve the illusion
that the conductor will assume you are paying rapt attention to the violin
bowings, or that you are contemplating how what he's saying will effect your
interpretation of the passage in front of you (since your head is five inches
from your music stand, you *must* be studying your part). Once you have the
complaining down, try throwing in a few jokes. The key to successful double
lipping is judging the room. If your colleagues aren't working to not laugh,
you need more practice. If you get an evil glare from up front, you
definitely need to lay back. The average time to develop a professional
double lipping technique is six years.

Teri

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