Klarinet Archive - Posting 000113.txt from 2001/11

From: lubydjackson@-----. Jackson)
Subj: Re: [kl] Re: How to make your reeds work
Date: Fri, 2 Nov 2001 17:39:24 -0500

Yes, I understand what you're saying. It's what goes into the instrument or
the player that matters as opposed to the equipment.

However, I have to ask you to elborate on "sealing" the reed. I'm not sure
I understand this.

Back in HS, I used to just play whatever I got because my family was poor
and I could only afford the used reeds from my band director. Since then, I
have made choices to the reeds I put in my mouth.
----- Original Message -----
From: "Ed Wojtowicz" <ewoj@-----.net>
Subject: Re: [kl] Re: How to make your reeds work

> I do not want to argue David's point, as I think it is very valid, but
wish
> to offer my own slant on it. While I agree with David that it is more
> important to practice rather than spend all of your time working reeds, I
> think that there is a happy medium. As was stated, each player should
decide
> where that point is for him/herself. Frankly, I know some players who
never
> touch a reed and deal with whatever they get right out of the box. While I
> agree with David that it is important to be able to play on a bad reed, as
> it is sometimes necessary, I find that it is so much nicer to play on one
> that works really well when possible. In my experience at least, the more
I
> have worked on reeds, the more comfortable I have gotten with doing it. I
> find that it is valuable to find a few tricks that make a reed comfortable
> for you (sealing, breaking in, flattening, etc) and then try to develop a
> few fine techniques of balancing and adjusting that make a real
improvement.
> This need not take a lot of time. Often, just a little bit each day. If
you
> have a few reeds that vary a bit in quality, response and strength (as
just
> naturally seems to happen), as well as in various stages of age, you often
> will have reeds that will work in a variety of settings. Beyond that, I
> think it is important to practice to be flexible enough in your embouchure
> to be able to make the reeds work. That, I think, is the real key to
David's
> statement- the more time you spend practicing, the less the equipment
seems
> to matter.
>
>
> Ed
>
>
>
> > From: HatNYC62@-----.com
> > Reply-To: klarinet@-----.org
> > Date: Fri, 2 Nov 2001 10:05:57 EST
> > To: klarinet@-----.org
> > Subject: [kl] Re: How to make your reeds work
> >
> > There comes a time for every clarinet player when he has to decide how
> > dedicated to the reed-making and preparation aspect of playing he is
going to
> > be. I am not good with reeds, not handy with a knife and my thumb is not
> > sensitive enough to check the tip for imbalances.
> >
> > But, there is a solution for people like me. Fortunately I discovered it
when
> > I was still in school and it has paid off every since. I LEARNED TO PLAY
ON
> > BAD REEDS.
> >
> > Let's face it, probably 50% of the time you are not going to have a very
good
> > reed. If that thought makes you uptight, you have a problem. Especially
with
> > the kind of work I do, where I literally play in a different room every
gig,
> > it would be impossible to prepare reeds in advance for every situation.
Even
> > if you think you have something, the weather might change and then you
are
> > screwed if you don't have something else.
> >
> > My advice is, practice your scales and arpeggios for several hours every
day
> > with a metronome and use your ears, not your reeds, to get a great
sound.
> >
> > David Hattner, NYC
> > www.northbranchrecords.com
> >
> > ---------------------------------------------------------------------
> >
>
>
> ---------------------------------------------------------------------
>

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