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Klarinet Archive - Posting 000197.txt from 2005/07

From: "Floyd Williams" <>
Subj: RE: [kl] Re: reed-up embouchure and tonguing
Date: Tue, 19 Jul 2005 00:51:03 -0400

For all those interested in the reed above method of playing the early
clarinet, see Ingrid Pearson's article on our website for Australian
Clarinet and Saxophone magazine. You'll find it at:

Floyd Williams
Queensland Conservatorium Griffith University
Brisbane, Australia

-----Original Message-----
From: David Glenn []=20
Sent: Monday, 18 July 2005 12:06 AM
Subject: Re: [kl] Re: reed-up embouchure and tonguing

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 =
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 =
practice? As for Stubbins, did he quote any sources? Maybe the =
tempos in the classical period were slower, but tongue-articulation may =
be the reason.

> --- Urspr=FCngliche 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 =
> 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 =
> 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, =
> the tongue be held flat in the mouth, and the throat as relaxed and =
> as
> possible in order to achieve this open, free, singing style. All =
> articulation, was accomplished by the breath and the 'hoo' aspiration =
> 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 =
> and the use of rapid articulation of our present style with respect to =
> performance of early music for the clarinet. The Stamitz concerti and =
, in
> fact, the Concerto by Mozart, may well have been performed for the =
> time by players using the reed controlled by the upper lip. A =
rendition of
> these compositions therefore, with fast tempos, and rapid staccato =
> is
> certainly not in character with their composer's concept."
> Now, I don't believe everything I see in print, but in learning a =
> takes in instruction, and I'm taking in instruction. Then are you =
> 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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