Author: Clariphant in Bb
Date: 2007-09-02 02:46
To the poster who asked for an example: Off the top of my head, I know Berke's Brahms 1st Sonata 2nd Movement has this sort of sound in it a lot. Actually, it's in the very first note, if I remember correctly. Stoltzman uses this technique frequently in his recording of the Prokofiev flute sonata transcription.
To the poster who mentioned Harold Wright: That's true. I failed to mention him in my first post, but I do notice this in his playing. There are others that do this as well.
Now that I think about it, perhaps the reason I find it so notable in the players that I mentioned is that (I believe) both are recorded more close mic'd than a lot of others. Maybe that makes this subtlety more noticeable. I tried this more today and recorded myself, and I think I've progressed at least somewhat in the direction I want. It seems that slight embouchure changes are less noticeable to me while playing than while listening to the recording. I also find that a softish reed helps when I want to sound to be slightly less focused but not ugly. Overall, for me at least, it seems mostly reliant on tongue position.
|
|
The Clarinet BBoard
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
