Klarinet Archive - Posting 000961.txt from 2004/10

From: Adam Michlin <amichlin@-----.com>
Subj: RE: [kl] Doubling
Date: Sun, 31 Oct 2004 09:33:16 -0500

At 09:11 AM 10/31/2004 -0500, Karl Krelove wrote:
>I don't know what the context of Larry Teal's description was, but the first
>time I ever heard an analogy made between a *clarinet* embouchure and a
>"rubber band" or a "gasket," the description came from the lips of Harold
>Wright. Maybe they meant different things. I don't think Wright had a
>problem with poor projection.

Larry Teal published a book called "The Art of Saxophone" (a quick web
lookup says circa 1963) which has since been referenced by almost every
woodwind methods book I've read (and I've read a lot of them). Just to give
you context, I don't mean to imply Mr. Teal invented this particular
embouchure style.

There are plenty of players with absolutely miserable embouchure problems
(not to imply Mr. Wright has such problems!) who play absolutely
wonderfully. I'm more interested in what is the most effective for the
players who don't want to (or can't) spend as much time practicing as
someone like Mr. Wright can.

I'm sure this embouchure approach dampens the vibration of the reed. And
I'm sure Mr. Wright quite effectively compensates through practice and
judicious choice of mouthpiece and reed. I most certainly can't argue with
his results.

The results are what matters. One just wonders if there isn't an easier way
for us mere mortals to get the results.

-Adam

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