Klarinet Archive - Posting 000151.txt from 2011/06
From: "Mike Vaccaro" <mike@-----.com>
Subj: [kl] Mouthpiece Facing and Breath Span - some thoughts
Date: Sun, 19 Jun 2011 13:39:04 -0400
Hi Karl.
I might know about the opening and why they took a breath in a certain place
and I don't know this piece of literature.
However I do believe in trying extremes to find out why. Try playing a
little oboe (even one high note) and see what that does to your breathing.
You could try an open jazz baritone sax setup for the other extreme (again
this even one low note). It makes me think that either extreme would make
you/me need to breathe more. Whether we are holding air or expelling a lot
of air the need to breathe more often becomes apparent. On the closed set up
many times it is to expel air and not take it in and on the extremely open
set up it is to inhale as deeply as possible.
My 2c
Mike Vaccaro
MikeVaccaro.com
-----Original Message-----
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Sent: Sunday, June 19, 2011 9:00 AM
To: klarinet@-----.com
Subject: Klarinet Digest, Vol 16, Issue 28
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Today's Topics:
1. Re: Keeping screws in place (DGross1226@-----.com)
2. Mouthpiece Facings and Breath Span (Karl Krelove)
3. circular breather (Tom Servinsky)
4. Re: circular breather (Edward Escobar)
5. Re: Mouthpiece Facings and Breath Span (hns692@-----.com)
6. REPLACEMENT SCREWS (kurtheisig@-----.net)
----------------------------------------------------------------------
Message: 1
Date: Sat, 18 Jun 2011 14:11:37 EDT
From: DGross1226@-----.com
Subject: Re: [kl] Keeping screws in place
To: klarinet@-----.com
Message-ID: <32924.5b5edd8a.3b2e4459@-----.com>
Content-Type: text/plain; charset="US-ASCII"
In a message dated 6/18/2011 9:00:10 AM Pacific Daylight Time,
klarinet-request@-----.com writes:
> There's something called Lok-Tight, <sp?> now, to keep screws from
> working
> out, but it wasn't available,
Jim,
When I was working summers in college at a machine shop at the Scripps
Institution of Oceanography, we routinely used "Loctite" on any
screws/bolts/threaded anythings we didn't want to loosen. I started there in
the summer of
1957. You gotta be older than dirt! ;)
Don Gross
P.s. Just wait until you lose a pivot screw out of a vintage Leblanc
paperclip contrabass clarinet. You either cannibalize from another
instrument or
have replacement screws made by a skilled repair person. Can't buy 'em off
the shelf anymore.
------------------------------
Message: 2
Date: Sat, 18 Jun 2011 16:42:57 -0400
From: "Karl Krelove" <kkrelove@-----.net>
Subject: [kl] Mouthpiece Facings and Breath Span
To: "'The Klarinet Mailing List'" <klarinet@-----.com>
Message-ID: <00c701cc2df8$4e52cb90$eaf862b0$@net>
Content-Type: text/plain; charset="us-ascii"
That may not be a very good subject heading, but it's the best I can come up
with immediately.
I've just been reading through the June 2011 issue of The Clarinet. In the
article introduced by Jean-Marie Paul which presents Guy Deplus's comments
on Messager's Solo de concours, Mr. Deplus suggests that in a particular
place "you can take a breath, if necessary; this was more common in the 20th
century when people were using closed mouthpieces."
This intrigues me. I suppose the best person to ask what he means by this
would be Mr. Deplus himself, but I don't know how to contact him directly
nor am I confident he'd answer me. But it raises a couple of questions for
me.
(1) What is he contrasting a 20th century practice of using closed
mouthpieces to? The piece was composed and first played in the late 19th,
but since he's writing (Mr. Paul implies that these comments were written
for this article) 11 years into the 21st century, could he be comparing then
to now?
(2) Which begs the question: how have general preferences in mouthpiece
facings changed from the late 19th century through the present among players
whose playing lineage is essentially French or at least based on French
mouthpiece designs.
(3) I would have thought a closer-tipped mouthpiece would allow a longer
time between breaths. But the way the comment is worded, it sounds as though
Deplus is saying the closer tips were what caused players more commonly to
breathe in this particular spot (and presumably other ones like it). I've
often noticed that in older (pre-1950s) recordings of standard works, both
solo and orchestral repertoire, that players seem to breathe more often than
more recent players. Is this, does anyone think, a function of mouthpiece
design (closer tips vs. more open tips?) or just a change in performance
style over the decades led by a few long-winded recording artists?
Karl
------------------------------
Message: 3
Date: Sat, 18 Jun 2011 17:42:09 -0400
From: "Tom Servinsky" <tompiano@-----.net>
Subject: [kl] circular breather
To: "The Klarinet Mailing List" <klarinet@-----.com>
Message-ID: <7DD4EF5D37DE497D93D9976A930BC58C@tomba31e729a57>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
List
I've made a personal decision to finally tackle learning circular breathing
once and for all.
Any tips on learning this technique would be much appreciated.
Tom Servinsky
------------------------------
Message: 4
Date: Sun, 19 Jun 2011 06:51:05 +0900
From: Edward Escobar <elescobar@-----.com>
Subject: Re: [kl] circular breather
To: The Klarinet Mailing List <klarinet@-----.com>
Message-ID: <22494184-94D2-45CF-98BF-934CF414CF71@-----.com>
Content-Type: text/plain; charset=us-ascii
I learned the technique first without the clarinet, just practicing
breathing in through the nose while pushing air out (that is trapped in the
mouth, making one look like a puffer fish) using my cheeks.
Once I got a clean unbreakable motion of air, I practiced it with the
clarinet in mouth.
It takes a while. You may find your cheek muscles getting tired a lot
quicker than usual when playing, if you use the technique a lot.
Eddie Escobar
On 2011/06/19, at 6:42, Tom Servinsky wrote:
> List
> I've made a personal decision to finally tackle learning circular
breathing
> once and for all.
> Any tips on learning this technique would be much appreciated.
> Tom Servinsky
>
> _______________________________________________
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------------------------------
Message: 5
Date: Sat, 18 Jun 2011 18:15:36 -0400 (EDT)
From: hns692@-----.com
Subject: Re: [kl] Mouthpiece Facings and Breath Span
To: klarinet@-----.com
Message-ID: <78045.2824bb12.3b2e7d88@-----.com>
Content-Type: text/plain; charset="US-ASCII"
This is a scary subject! It would be really nice if Mr. Deplus could
personally clarify his comments.
As to your #3 comment, unless someone has detailed records of mouthpieces
and their measurements, how could one really tell. It seems to me that the
variations are infinite due to the various combinations of mouthpieces,
barrels and bells used on any one instrument, and the instrument itself,
etc.,
etc. And, has anyone documented the "equipment" used in the various
recordings that would serve as comparison points?
I'll go no further . . . this could become a real monster!
Lee Ann Hansen
In a message dated 6/18/2011 3:43:31 P.M. Central Daylight Time,
kkrelove@-----.net writes:
That may not be a very good subject heading, but it's the best I can come
up
with immediately.
I've just been reading through the June 2011 issue of The Clarinet. In the
article introduced by Jean-Marie Paul which presents Guy Deplus's comments
on Messager's Solo de concours, Mr. Deplus suggests that in a particular
place "you can take a breath, if necessary; this was more common in the
20th
century when people were using closed mouthpieces."
This intrigues me. I suppose the best person to ask what he means by this
would be Mr. Deplus himself, but I don't know how to contact him directly
nor am I confident he'd answer me. But it raises a couple of questions for
me.
(1) What is he contrasting a 20th century practice of using closed
mouthpieces to? The piece was composed and first played in the late 19th,
but since he's writing (Mr. Paul implies that these comments were written
for this article) 11 years into the 21st century, could he be comparing
then
to now?
(2) Which begs the question: how have general preferences in mouthpiece
facings changed from the late 19th century through the present among
players
whose playing lineage is essentially French or at least based on French
mouthpiece designs.
(3) I would have thought a closer-tipped mouthpiece would allow a longer
time between breaths. But the way the comment is worded, it sounds as
though
Deplus is saying the closer tips were what caused players more commonly to
breathe in this particular spot (and presumably other ones like it). I've
often noticed that in older (pre-1950s) recordings of standard works, both
solo and orchestral repertoire, that players seem to breathe more often
than
more recent players. Is this, does anyone think, a function of mouthpiece
design (closer tips vs. more open tips?) or just a change in performance
style over the decades led by a few long-winded recording artists?
Karl
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------------------------------
Message: 6
Date: Sat, 18 Jun 2011 16:24:39 -0700 (GMT-07:00)
From: kurtheisig@-----.net
Subject: [kl] REPLACEMENT SCREWS
To: The Klarinet Mailing List <klarinet@-----.com>
Message-ID:
<32061421.1308439479969.JavaMail.root@-----.net>
Content-Type: text/plain; charset=UTF-8
Don,
There is a marvelous guy out there that WILL make replacement screws, if the
demand is large enough.
Many years ago I spent 7 years trying to find someone to make early MK VI
saxophone pivot screws. They are different than the later ones, having a
different pitch--courser thread.
The guy is Ed Krause. He only sells to repairmen, but he is a great guy and
DID make them for us.
Kurt
P. s. "older than dirt"....I remember my father using loctite around '57
too.
>
>Don Gross
>
>P.s. Just wait until you lose a pivot screw out of a vintage Leblanc
>paperclip contrabass clarinet. You either cannibalize from another
instrument or
>have replacement screws made by a skilled repair person. Can't buy 'em off
>the shelf anymore.
>_______________________________________________
>Klarinet mailing list
>Klarinet@-----.com
>To do darn near anything to your subscription, go to:
>http://klarinet-list.serve-music.com
------------------------------
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