 The Clarinet BBoard
|
Author: David Dow
Date: 2003-01-20 14:20
i was reading a number of posts related to reed problems on the BB as of late and knew that with the winter weather comes unstable reeds. Many students at this time of year are beginning their 2cd semester and i note they all seem to be getting a pretty airy sound. So as a result i am offering an in service reed clinic for all of them. What I expect to do is discuss the areas tantamount to succesful reed performance and care.
This is an area of such neglect by private and public school teachers that is something of a concern whether or not the student will ever be able to produce a decent and responsive tone. I tend to divide students in to two types. Those who play on reeds that are too hard and those who play on reeds that are too soft. for some reason the ones who like the hard cane seem to think a hero badge should come along with it....the one who like soft cane tend to be laszy and play the reed to death after about 6 months without looking for anything new....of course the advanced students seem to like the heavier reed concept and the beginners think if you get a noise out of it is great!
Due to the fact many of my students are younger I have decided to introduce sanding and dutch rush instead of reed kinves. My older more advanced students all work with reed knifes. As for the essence of reed preparation I generally feel many players don't explore enough avenues of approach and get involved in the concept that all the reed troubles are related to the manufacturer. In point of fact the situation with Vandoren cane has been like this for eons.
here is nothing new in the idea that vandoren cane is inconsistent or for that matter the idea of consistent cane exists. Instead, I would like to prove once and for that different reeds behave differently to great effect for the player. Lighter and brighter cane many be ideal for certain music and harder more muted cane be perfect for certain repetoire. the idea of playing Mozart and then Brahmns on the same cane has to go1
In fact this variability can be used to great effect without of course having to switch your entire mouthpiece to change the sound quality; this is the worst route to go especially for intermediate and beginnning levels.
So my students are going to get the once over on dutch rush, reeds, airy reeds, resistance, reed making and breaking in cane for one entiremorning.
This should be part of the standard cirriculum of teaching for any private teacher who espouses that they are a teacher. In fact, what with high speed internet and e commerce and fast living, I think it would be nice for them to slow down and do something slowly that will boost the playability of their cane and stop my complaining about their tone. It will also enhance the confidence in their owbn playing knowing they can get reeds to work!
Sincerely
dD
|
|
Reply To Message
|
|
Author: L. Omar Henderson
Date: 2003-01-20 16:51
Dear David,
I for one wish that you would mike and video tape your clinic as a service to the rest of us students - I for one would buy a tape. It is only by passing the knowledge down through the generations that we grow a body of knowledge.
The Doctor
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
