Klarinet Archive - Posting 000218.txt from 2003/08

From: Russell Harlow <lharlow@-----.net>
Subj: Re: [kl] Mouthpiece patches, stiff upper lip
Date: Sat, 9 Aug 2003 16:46:52 -0400

on 8/9/03 6:18 AM, Tony Pay at tony_pay@-----.uk wrote:

> --- Tom.Henson@-----.com wrote:
>
>> I have been in the process of converting to a double lip embouchure now for
>> a couple of months. My main reason to try this change was to solve a biting
>> problem that I had.

Tony Pay wrote:
>
> "Without wishing in any way to diminish the value of your experience, I'd just
> like to point out that another way of solving the 'biting' problem that you
> had, whatever that was, would be -- to stop biting.".........

>
The phrase: "Without wishing in any way to diminish the value of your
experience" seems to be a rather condesending way to begin to devalue
anothers experience...especially if you, yourself, have not had that
experience. As Associate Principal Clarinet with the Utah Symphony for over
32 years I have experienced what Mr. Hensen writes. I switched to dbl lip 30
years ago because tension and biting on the clarinet had become habitual
since age 11. Nothing had worked to get rid of the tension. As a matter fact
after years of playing with to much tension ones perception becomes
distorted as to what too much tension actually is.

Years of habits of the body are not so easily eliminated by a mental
phrase--"stop biting". Keith Stein knew this when he included double lip
technique in "The Art of Clarinet Playing" as a remedial technique. One that
could be dropped when the body had expreienced the new impression and the
problem was solved or continued if you liked the feel and sound. With some
people habits can be so ingrained that the moment they go back to single lip
the body reverts to the old tensions. If you are a super relaxed player,
consider yourself very lucky. On the other hand our experiences are not all
the same. What are your habits? Could you be even more sensitive to lip
pressure and finger tensions than you are now? Could your playing improve
even after 20, 30 or 40 years of playing because you sought out new
impressions?

For me, personaly, switching to two lips opened up a constant flow of new
impressions and eventually, an ease of playing and control of expression and
color. It's not for everyone, but something that practical can hardly be
called "mouth religion", (unless you haven't had the experience).

>From Ralph McLanes' 1950 article on double lip technique: ..."I know of many
fine clarinetists who play with a single embouchure, but I maintain that
their controll and ease of playing would improve with a double embouchure.
Naturally, this improvement would enable them to play even more beautifully.
.....I do not claim that this is the only way to get good results; I do say
it is a way to improve on good results."

Russell Harlow

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