 The Clarinet BBoard
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Author: Andy
Date: 2001-02-08 07:40
Dear Alphie,
In response to your conversation with Keith Puddy, maybe you should have taken me more seriously. On Keith Puddy's disk entitled "Brahms in Meiningen", PCD994, the cover contains the following passage:
"The tooth marks on Muhfield's surviving but unplayable mouthpiece suggest that he may have used vibrato".
Why don't you ring Mr. Puddy and question him on this point, if you still dont agree I am more then willing to fax you a copy of the CD cover so you can see for yourself.
Regards,
Andy
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Author: Dee
Date: 2001-02-08 10:41
Andy wrote:
>
> Dear Alphie,
> In response to your conversation with Keith Puddy, maybe you
> should have taken me more seriously. On Keith Puddy's disk
> entitled "Brahms in Meiningen", PCD994, the cover contains the
> following passage:
> "The tooth marks on Muhfield's surviving but unplayable
> mouthpiece suggest that he may have used vibrato".
> Why don't you ring Mr. Puddy and question him on this point, if
> you still dont agree I am more then willing to fax you a copy
> of the CD cover so you can see for yourself.
> Regards,
> Andy
But how do you tell vibrato tooth marks from other tooth marks is the question. I can't visualize that. I know lots of people who have tooth marks on the mouthpiece but do not use vibrato.
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Author: Stefano
Date: 2001-02-08 15:11
Andy,
you deserve to be taken seriously, and I acknowledge the statement made by Puddy: "The tooth marks on Muhfield's surviving but unplayable mouthpiece suggest that he may have used vibrato".
The point is, that it is difficult to infer the use of vibrato by Muhfield on the basis of (not better specified) "marks" on his mouthpiece.
By the statement made by Puddy, I can reasonably say that Muhfield did adopt a "single lip" embouchure.
However, in order to say that Muhfield consistently adopted "vibrato", these "marks" on the mouthpiece should be revealing something more (e.g. a "trail mark" on the mouthpiece).
Then, again, I do not think that clear "trail marks" on a mouthpiece are conclusive to prove the use of vibrato: indeed, you do not leave marks on the mouthpiece if you use vibrato with a "double-lip" embouchure; or if you utilise a "diaphragmatic" vibrato.
The most authoritative, but yet questionable, voice in favour of the belief that Muhfield used constant vibrato is the famous story already mentioned in previous postings and reported by Jack Brymer in his book.
Going back to the original topic, I would say that it is not of great importance if some artist adopted or not vibrato in the past (if we are clever enough we can find thousands of example on one side and the other).
Today, the widespread idea is that vibrato should be used in music as a "spice" on food; and, personally, I support such an approach, irrespective of the gender (classical or jazz) or instrument (violin or clarinet), although I know there are a number of clarinet purists that say "No No" to vibrato.
Vibrato is an “effect”, like a wah-wah or distortion onto an electric guitar: in some cases it sounds good, in other it does not, and if you use it to much it gets boring.
Stefano
P.S. Why don’t we ask Puddy about it?
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Author: Alphie
Date: 2001-02-08 23:46
Dear Andy! I'm sorry if you got the impression that I didn't take your
statement seriously. However, my question to you in my first replay was an
honest one but maybe a bit edgy since I couldn't see the connection. You
didn't mention the teeth marks. After having spoken to Mr. Puddy I think I
know what he means by saying that the teeth marks suggest that Muhlfeldt
might have used vibrato.
Teeth marks as such proves nothing. Only that a single lip embouchure has
been used. If the marks that I see on the small picture that I have in front
of me are two parallel lines, it harmonizes very well with Mr. Puddys idea about what
type of vibrato technique Muhlfeld might have had. More like a "wobble" than
a real vibrato, meaning that when executing vibrato, he was moving the
mouthpiece in and out by shaking the instrument or chewing heavily.
The marks can also mean that he used more and less mouthpiece
according to what color or dynamic he wanted, so to me it doesn't prove
anything.
In fact, I couldn't care less if Muhlfeld played with vibrato or not. The
subject is boring and I don't give a "beep". What I'm turning against is
that people by saying, "Muhlfeld played with vibrato and Brahms liked that
so I do it too", justify there own (ab)use of vibrato without educating
themselves about historical and musical facts.
In 18- and 19th century music it's pretty clear how vibrato should be used.
The fundament is No Vibrato. It's your own responsibility based on musical
experience and taste. Vibrato should be a spontaneous reflection of emotion for what you feel when you play at a certain moment. Something extra
to give away because you can't resist.
Marcel Moyce, the flute guru wrote about vibrato: "The artificial simulation
of emotion is as offensive as the incapacity to sustain a note at it's true
pitch".
After my divorce I decided not to have a long term relation again if I one
time had to ask myself, Is this what I want? It took me five years to find
the right person and I haven't asked that question since ten years now.
What I mean is: If you're not sure, don't do it.
Alphie
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Author: deebee
Date: 2001-02-09 04:41
"Vibrato should be a spontaneous reflection of emotion for what you feel when you play at a certain moment. Something extra to give away because you can't resist."
...brings up the question of "art" vs "artifice" - how spontaneous are you <i>really</i> being on the concert stage? How rehearsed is the "spontaneity"?!
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Author: Fred
Date: 2001-02-09 08:46
Another side issue here is whether to teach vibrato to young players. I wish one of the four teachers I studied with would have taught me, but it didn't happen. So now I find myself playing in musical settings where I could use it and I'm pretty much a novice. If you play long enough, you will eventually find yourself wanting to use vibrato somewhere sometime. I think it is a neglected aspect of the clarinet curriculum.
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Author: Bob Sparkman
Date: 2001-02-09 10:35
You are so right Fred. Even as a jazz player, I found guidance completely missing on vibrato, and finally took what I could find from singers, most particularly Billy Eckstine. I'll probably be vigorously excoriated for this, but I found it necessary to use a shorter barrel and relaxed embouchure to make it work, taking a hint from saxaphone technique. I don't think that would be welcome, or permitted, in a classical environment, though, so the matter should be approached carefully. I've often thought the painfuly flat clarinet sections of many elementary school bands could be solved by a mm or two shortening of barrels, particularly because most youngsters start off using soft reeds on close faced mouthpieces which are impossible to get up to pitch anyway. Oh boy. Am I in trouble!
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