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Klarinet Archive - Posting 000190.txt from 2005/07

From: "David Glenn" <>
Subj: =?ISO-8859-1?Q?Re:_[kl]_Re:_reed-up_embouchure_and_tonguing?=
Date: Sun, 17 Jul 2005 10:07:57 -0400

Well, Joe, did you try it? After hearing earlier from Dan and Tony and
others that staccato was much more common in the classical period than in
the romantic period and then reading your quote (below) from Stubbins, I
picked up my clarinet and tried it for myself. Admittedly, the tonguing
movement required when the reed is on top is different than when the reed is
turned down but I found it quite possible to tongue clearly, if not quite so
rapidly as with the downturned reed. Maybe the speed could be increased with
practice? As for Stubbins, did he quote any sources? Maybe the performance
tempos in the classical period were slower, but tongue-articulation may not
be the reason.

> --- Ursprüngliche Nachricht ---
> Von: "Vann Joe Turner" <>
> An: <>
> Betreff: [kl] Re: reed-up embouchure and tonguing
> Datum: Sat, 16 Jul 2005 17:28:34 -0400
> Hmmm? The only source of my knowledge of reed-up embouchure comes from Wm.
> Stubbin's *The Art of Clarinetistry*, Ann Arbor Publishers, 1965, page
> 196,
> on which he writes:
> "The first clarinets were played with the reed turned upward and
> controlled
> by the upper lip. The reed was not turned downward and controlled by the
> lower lip in the position that it is now used until the turn of the
> ninteenth century.
> "With the reed in the position in which it was controlled by the upper
> lip,
> articulation by using the tongue was impossible, and considered to be
> undesirable. The clarinet was considered to be played as closely as
> possible
> to the singing style of the human voice. It was recommended in fact, that
> the tongue be held flat in the mouth, and the throat as relaxed and open
> as
> possible in order to achieve this open, free, singing style. All phrasing
> articulation, was accomplished by the breath and the 'hoo' aspiration as
> in
> the phrasing for vocal production.
> "Obviously, the limits of rapid articulation are very restrained under
> these
> conditions, and players of the present will do well to consider the tempos
> and the use of rapid articulation of our present style with respect to the
> performance of early music for the clarinet. The Stamitz concerti and , in
> fact, the Concerto by Mozart, may well have been performed for the first
> time by players using the reed controlled by the upper lip. A rendition of
> these compositions therefore, with fast tempos, and rapid staccato style
> is
> certainly not in character with their composer's concept."
> Now, I don't believe everything I see in print, but in learning a person
> takes in instruction, and I'm taking in instruction. Then are you saying
> Mr.
> Stubbins is wrong? He may be -- I'm trying to learn, and don't want to
> learn
> erroneous material, only to replace it at a later time with correct
> material.
> --Joe

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