Klarinet Archive - Posting 000257.txt from 2004/07

From: "Ted Casher" <tedcasher@-----.net>
Subj: [kl] Re: clarinet to sax
Date: Thu, 8 Jul 2004 12:40:38 -0400

Ted Casher here. Transition from clarinet to saxophone is a process, to be
sure, but can be done easily. A lot depends on the clarinet embouchure. If
you use a "smile" embouchure, the transition can be really bad.
It is much easier if you use a top-teeth embouchure, and the lower lip and
corners of the mouth merely form an elastic band around the mouthpiece.
This is the manner of an Eastman embouchure, as taught by the late Bill
Osseck, which he learned from Rufus Arey. Bill Osseck taught this
embouchure to Chris Vidala, and to me, among many others.
The rest has to do with the placement of the air and the arching of the
tongue. Keep in mind that the alto sax and clarinet embouchures are more
compatible. Going from clarinet to tenor, one has to use a tenor mpce that
enhances the lower frequencies, like a metal Otto Link or a rubber Morgan.
A lot depends upon what you want to do with the sax. Do you want to play in
a big band, or do club dates, or play contemporary pop? And which sax
player do you like to listen to.
Also, if you desire to play classical saxophone---which to me is a colossal
waste of time, save for building chops---there is more literature written
for alto. There is also somewhat of a standard for a classical sound for
alto. There is no standard for a classical sound for tenor---not one that
can be used for any sort of jazz.
Anyhow, good luck with the transition. For openers, play the Pares scales,
first on the clarinet, next on the sax, and strive to keep the intonation
level constant, and the air column constant.
I use a glass Pomarico Diamond Mello on clarinet, with a thin patch. I have
just bitten a groove on my Morgan 7 EL Excalibur tenor mpce, and warped it
thereby, so I have gone back to my 7* metal Link. I play Selmer Series 10G
clarinets with a short barrel, and play a vintage Selmer Mark VI
tenor----all serviced by Emilio Lyons.
Listening to my recorded clarinet playback on the CD "Dancing On A Blue
Moon," as recorded by the Swing Legacy-----it's amazing how much of Bill
Osseck's teaching I still carry around in my clarinet case, after a half
century. That Eastman concept made for happy woodwind doubling for both me
and Chris Vidala, and the late George Marge, a VIP NYC studio player.
Good luck in your quest.

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