Klarinet Archive - Posting 000284.txt from 2002/04

From: Mark Gustavson <mgustav@-----.com>
Subj: Re: [kl] teeth.
Date: Tue, 9 Apr 2002 09:01:13 -0400

When I seventeen, two weeks before I began music school, I had all four of my
wisdom teeth removed. My auditions went very well and I never met or missed
those four teeth. With the doctor's permission I began practicing one week
after surgury. That's what the Tylonol 4 is for. As with any surgury, make
sure the doctor comes highly recommended because I do know people who had a
rough time of it.

Mark

Lucienne wrote:

> Hello list.
>
> the dreded time has arrived when the dentist has demanded four of my wisdom
> teeth. the only 4 i have.
> and while i know i can't get out of this horrible surgery. I was wondering
> about the differnece in playing?
> have any of you in your experiences found any major differences? four
> gaping holes in my jaw has bound to do something to my tone production on
> the bass clarinet.
>
> I'm waiting until after my jury.;-)
> Lucienne
>
> At 10:57 AM 4/8/02 -0400, you wrote:
> >Hi everyone,
> >
> >I don't know if anyone else uses the breathing bag
> >concept of famed tubist Arnold Jacobs but I'm finding
> >it makes a big difference in sound production. The
> >basic idea is to practice moving larger amounts of air
> >without hyperventilating. The great thing is that
> >while
> >you can buy a medical-sized bag from places like The
> >Woodwind, it's actually free to put together if you so
> >
> >want: get a plastic shopping bag and a handful of
> >those
> >big McDonald's straws (at last something good for you
> >comes from the arches!) and then closing the empty
> >bag around the straws fill it up from your lungs and
> >then breathe that mass of air back in, then re-fill
> >the bag etc.
> >
> >After about 4 exhalations put the bag down and pick up
> >
> >your horn and play say an F major scale and notice the
> >difference. Boy do I notice one! Much fuller and
> >bigger
> >sound and also a more centered altissimo. The only
> >catch is that the change tends to drop off after about
> >a minute or so, but with noticing what physically was
> >affected it becomes possible to start to make the
> >change more permanent. I'd love to hear of any other
> >experiences using this and trying to make the
> >improvement last.
> >
> >I took a lesson myself with a jazz bari sax player the
> >other week, and to show me breathing he picked up a
> >snare drum stick, put one end into his abdomen below
> >his ribcage, then told me to push in. I did but he
> >said "harder" so I did. "No, harder!" so I basically
> >jammed the stick in with wide eyes, definitely not a
> >typical teaching technique! Well, when he inhaled did
> >that stick come shooting out his gut. Muscle like
> >steel down there. And when he exhaled no collapse, no
> >"toothpaste tube" breathing here! (Reference to Tom
> >Ridenour's great clarinet basics book).
> >
> >I was there to try and improve my slaptongue. I can
> >get a pretty good wham on staccato, but it's still not
> >that real "slap bass" kind of 'pow'! Any success
> >stories in learning or teaching this? I'm trying to
> >pull my tongue away fromthe entire length of the reed
> >but the pop just isn't coming.
> >
> >TIA,
> >
> >=====
> >Peter Stoll
> >
> >University of Toronto
> >Toronto Philharmonia
> >Continuum Contemporary Music
> >ERGO ensemble
> >
> >Music, Movies, Sports, Games! http://entertainment.yahoo.ca
> >
> >---------------------------------------------------------------------
>
> ---------------------------------------------------------------------

--
Mark Gustavson
Composer
45 Fifth Avenue #10B
New York, New York 10003
TEL (212) 727-2686
FAX (212) 741-4171
EMAIL mgustav@-----.com

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