 The Clarinet BBoard
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Author: sfalexi
Date: 2002-10-12 05:19
In a previous post about Mr. Cioffi (spelling?) it stated that he knew how to play the clarinet with an inverted mouthpiece. I remember seeing some documentary on another clarinetist (modern) that played the same way. Would there be any difference in intonation or tone or anything? And if anything, I would think that our anatomy would make it harder to tongue a reed if the reed wasn't facing the back of your throat but rather was facing up and out. Think I should learn or give it a shot? Or just continue using it the "normal" way?
Alexi
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Author: JMcAulay
Date: 2002-10-12 07:27
Whatever the "normal" way might be, why not go with it. Very few players used the reed-up position after the 20th century began. If you want to try something different, how about the double-lip embouchure, where both the upper and lower lips are placed over the teeth. A number of contemporary players advocate this, either for permanent or occasional use.
Regards,
John
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Author: Don Berger
Date: 2002-10-12 15:23
Agreed! I recall a pic [in Groves Dict.? and elsewhere] prob. from an 1800's tutor of a moustached! player with reed-up. Years ago I worked on a cl for a girl, handed it to her to try out, she turned the mp around!!. I tried to carefully/courteously suggest she play reed-down, which she did and was pleasantly surprised! Don
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Author: sfalexi
Date: 2002-10-13 05:04
I guess it's all just how you were taught. I remember on the aforementioned documentary that the guy had only ever played it that way. From the beginning on. It just seemed to me that mouthpieces as a whole were designed to go the other way. I'll give this double lip stuff a crack.
For the double lip, are they both just tucked underneath? Or is there a special way to tuck the top lip?
Alexi
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Author: Alphie
Date: 2002-10-13 22:59
Historically the reed up or down issue has never been so important. What we know for sure is that for most of the 1800th century most players played "obersich", with the reed on top. When this changed is hard to know since very little has been written about it. Quite sure is that the change happend in Germany because of the descriptions of various players sound quality.
"Obersich", reed on top, is discribed as having a louder, more harsh sound than "untersich", reed at the bottom. It also gave a more secure high register.
Untersich is discribed as having a more velvet-like sound with better control of sound and dynamics, specially in p-pp wich suits the description of the sound of German players from the beginning of the 19th century.
Makers of the time never stamped the mouthpieces to make it optional to play either way. Stamps were like today ment to be seen from the upper side of the instrument. The only evidence of a MP ment to be played with the reed at the bottom is one kept in the muséum in Zürich made by Heinrich Grenser (dead 1813) with the stamp on the oposit side of the reed.
Backofen writes in his "Anweisung" (1803), (freely translated from memory): "About playing with the reed on top or bottom I have no opinion. I have heard beautiful music performed both ways."
The last welknown player who supposely used the obersich technique all his life is the englishman Thomas Willman (dead 1840).
In Rendall: "The clarinet" is even a quote written a few years after Willmans death: "Foreigners play with the reed downwards, the contrary is practiced in England".
Alphie
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