Klarinet Archive - Posting 000007.txt from 2004/11

From: <tony-w@-----.uk>
Subj: Re: [kl] Doubling
Date: Mon, 1 Nov 2004 10:06:35 -0500

----- Original Message -----
From: Kevin Fay <kevinfay@-----.com>
To: <klarinet@-----.org>
Sent: Monday, November 01, 2004 12:58 AM
Subject: RE: [kl] Doubling

Forest Aten posted in response to the observation " that one has to pitch
'up' to the note to hold a correct clarinet embouchure, and one has to pitch
'down' to the note for saxophone":

<<<Not for me Tony.....and I double a lot. . . . My perception about
embouchure from one instrument to another, is that my embouchure feels the
same. It may differ to some degree...but only in small subtle ways. Ways so
subtle that I don't notice them any longer when I change instruments.>>>

Quote "It may differ to some degree...but only in small subtle ways."

My observations are consistent w/ Forest's here. There are differences, but
almost entirely due to the size of the mouthpiece/reed. My soprano sax
embouchure is pretty much identical to what I use on Eb clarinet; bass
clarinet virtually the same as tenor. I'll often share reeds between these
groupings, too.

Quote "....is pretty much identical...."

Fast doubling requires a flexible embouchure. So does playing clarinet, if
you want to have some nuance in your sound.

Quote "...requires a flexible embouchure..."

I don`t believe I said anything vastly different. Pitching up and pitching
down are what is required to correct or compensate for any strong nuances of
tuning and any intonation oddities in design and manufacture. Also for
correct tone development. Others observe that if one plays the sax with an
exact copy of the clarinet embouchure then this is asking for a certain
amount of trouble with what we normally think of as 'correct' tone. It`s not
unknown to use the fingering for the next note 'up' in the altissimo
register of the Eb clarinet because the embouchure adjustment required would
inflict unreasonable pressures on the lips.
Tony W.

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