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Klarinet Archive - Posting 000484.txt from 2002/06

From: "Jay Webler" <>
Subj: Re: [kl] Barrels and Karl Leister...
Date: Sat, 15 Jun 2002 23:25:25 -0400

I would like to throw in my 2 cents on this, admitting that I don't know
level of playing, so I may be in left field entirely. It has been my
experience that
99.9% of the time a student has intonation problems in the upper range of
the Clarinet that it is embouchure related. We are often quick to what to
some new product thinking that the problem can be quickly resolved. Many
tend to bite down as they go up the Clarion range into the Altissimo. If
the embouchure,
air support, and voicing is correct this should not have to be done. Often,
with ones who
have this problem, I have the student use a double lip embouchure and ask
them to play up
to E or F altissimo. Generally I find that their air support is lacking.
If they spend some time
practicing this way they usually develop a much more open, in tune sound.

Having said all of that, if you have already tried all of this then: Never
Mind !!!!!

Jay Webler
Jay's Clarinet and Percussion

----- Original Message -----
From: <>
Subject: [kl] Barrels and Karl Leister...

> Hi all,
> I'm play on R-13's, and I've come to the decision that I need to purchase
> new barrel for my A clarinet (intonation in the upper register of the
> joint is sharp as always, and response could be better), and I'll be going
> with a Moennig, just like my B-flat. For the heck of it, I put my B-flat
> barrel (the Moennig) on my A clarinet and things did improve noticeably,
so I
> was wondering if anyone actually uses the same barrel for both clarinets
> (especially Buffet clarinets/barrels). It seems kind of taboo to me
> just superstition?), but it certainly sounded/felt somewhat better. I
> an A clarinet barrel can do even more. Perhaps it's because the Buffet
> factory barrels just don't have a great bore and any Moennig works better?
> dunno...
> As for Leister, I was wondering people's opinion of his Brahms
> interpretation, specifically. I studied the Brahms Trio, Op. 114 this
> and used his recording the most. Those that ridicule his interpretation
> usually say it's boring, without emotion, but I respect his
> approach as something I could study. I certainly ended up playing it much
> differently than he, but I do not really believe he is devoid of
> was just wondering what your thoughts might be...
> Michael
> P.S. I'm going to send an email about me later, so I can properly
> myself, rather than sending long posts with no biography for you to
> me with :-)
> ---------------------------------------------------------------------


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