Klarinet Archive - Posting 000180.txt from 2005/11

From: Edward Branham <ebb@-----.net>
Subj: Re: Fw: [kl] saxophone question- Oleg mouthpiece
Date: Wed, 09 Nov 2005 22:05:45 -0500

the cheap Olegatures will not last ... Rico has discontinued them and
has blown out their inventory to distribution. When the Rico Olegatures
are gone, prices will go back up to the manufacturer's suggestred price

Deborah L. Jenkins wrote:

>If you're talking about the Olegature (spelling?), I just picked one up
>for my clarinet on eBay a few weeks ago. It was a brand new silver
>one and the cost without shipping was US $29.00. I've seen the
>gold one in the Woodwind and Brasswind catalog for much, much more-
>$80 or $90? I think I got a pretty good deal. The seller that I got it from
>had several of them up for auction, but I don't remember if she had any
>for alto sax since I wasn't looking for those.
>
>Just thought I'd post this for anyone interested. I know some of us are
>limited by funding as to what we can purchase. (Even for those who
>aren't, I don't know too many folks who don't like to save a few bucks
>if they can.)
>
>Good luck.
>
>Deb Jenkins
>
>
>-----Original Message-----
>From: Ted Casher <tedcasher@-----.net>
>Sent: Nov 6, 2005 12:53 PM
>To: klarinet@-----.org
>Subject: Fw: [kl] saxophone question
>
>Ed---don't know much about the Optima mpce, but to me, the Selmer C* mpce is
>nothing but a pea-shooter!
>
>I double clarinet/tenor/fl. I used to do a lot w/lead alto, but---that was
>then; this is now. I keep an old New York Meyer 6-M in my alto case, and it
>serves me well in jazz and symphonic venues.
>
>I use an Oleg metal wraparound ligature. It is pricey, but it works.
>Better to buy one from Fred Weiner or Woodwind/Brasswind---you spend more
>money if you buy it directly from Oleg!
>
>The Oleg has all the advantages of a wraparound ligature without taking out
>the high frequencies. I am a tenorplayer of the Hawk/Webster school, and my
>air column and oral cavity are set up to blow the air in a dark manner.
>Therefore, when I put the alto in my face, I need the highs, else it would
>sound like an Eb tenor! As a bassoon player, you might have the same
>problem!
>
>Although, I find that there is a bigger issue of performance practice in the
>articulation used by symphonic players when playing jazz. They rush beamed
>eighth notes on beat 4, they do not play the first note long on the
>eighth-quarter-eighth syncopation, and they don't stop staccato notes with
>the tongue!
>
>Last time I played the work in question, the maestro kept on saying "Shhh,
>shhh!"
>
>Anyway---good luck in your quest!
>Ted Casher
>
>----- Original Message -----
>From: "Lacy, Edwin" <el2@-----.edu>
>To: <klarinet@-----.org>
>Sent: Saturday, November 05, 2005 5:29 PM
>Subject: [kl] saxophone question
>
>
>I know that there are several saxophonists on the list, so perhaps this
>question can be excused.
>
>My primary instrument is the bassoon, but I have been engaged next week
>by a nearby symphony orchestra to play the alto saxophone part on
>Bernstein's "Symphonic Dances from West Side Story." I have played this
>part several times previously, but always debate with myself about which
>mouthpiece and reed setup to use. Would you recommend using a
>"classical" setup, or one more suited to jazz? Certainly the music is
>jazz oriented, but then, it is a symphony orchestra.
>
>My usual setup: For classical, an old, old Selmer C* mouthpiece, or a
>newer Vandoren Optimum, with #3 reeds, usually Zonda, but sometimes
>Vandoren. For jazz, either a Rousseau JDX8 or a Berg Larsen 90/0, with
>Rico Royal reeds, #2.5. For both of these mouthpieces, I usually use a
>Harrison gold ligature, but sometimes a Rovner or BG fabric-type
>ligature.
>
>I would be interested to hear if any others on the list have resolved
>this question for themselves.
>
>Ed Lacy
>University of Evansville
>
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