Klarinet Archive - Posting 000270.txt from 2004/08

From: "David McClune" <dmcclune@-----.edu>
Subj: Re: [kl] Objective of the Ligature
Date: Tue, 10 Aug 2004 09:35:48 -0400

I will dive into this ligature mess, speaking as another mouthpiece
maker. I personally go between a BG gold Traditional, my old stand by,
an inverted Bonade with the two bars filed to be level and not bowed and
sometimes the Vandoren Optimum. However when working on mouthpieces I
use a 25 year old Rovner which I have had to re-glue together a couple
times! It is fast to but on and off, and does note scratch. I either
own or have tried most every ligature out there.

Now, what does that mean... Some players want a ligature which allows
more vibrations/flexibility/ring/fluidity, etc and others want less
vibrations/tighter sound/less ring, etc.

Sometimes I wonder if we substitute tweaks for practicing more.

It sounds ridiculus, but I have taped myself using $1,500 worth of
microphones in a good recital hall and playing it all back on a 10K
stereo system. I usually do not hear significant let alone subltle
differences between bells, barrels, ligatures, etc. However I
personally, while playing, can tell small to large differences in what
it FEELS like to me and what and what I THINK it does to my sound and
playing. If a piece of equipment helps us with the psyhological aspect
of performing and "it" gives us more confidence and freedom in our
playing...this is a good thing and worth some of our money.

We have to admit, that we musicians tend to be a bit paranoid about our
sound and playing. However in the long run, get something that works
for you and go out and make music. Charlie Parker played on garbage
most of life, and yet made incredible music!

Musically yours,

Dr. David McClune
Professor of Woodwinds
Director of Bands
Union University-1862
1050 Union University Drive
Jackson, TN 38305

Office-731-661-5294
dmcclune@-----.edu
www.mcclunemouthpiece.com

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