Author: Bob Bernardo
Date: 2016-07-03 12:03
Before playing/recording some of the harder pieces, symphonies, concerto's, like the Copland, the Nielson, Mendelssohn's 4th, changing rhythms, playing the scales over and over in the same key signatures, different articulations, always helps. Bottom line it still takes hours of hard work. Even the slow pieces are challenging such as Beethoven's 6th and even the Egmont Overture, it's just 4 notes, but breathing is so hard, the right reed, lifting your fingers slowly. Most players screw up Peter and the Wolf, the middle section, by rushing it. You have to practice hitting the main notes then later hit the accents one measure at a time, as you practice. If you try to hit the accents first you will most likely waste valuable practice time and wreck the concert. So practice SMART, change the rhythms, slur 2 tongue 2, get away from making the same mistakes over and over. Figure out how to fix the mistakes. About reeds, I sometimes play harder reeds on slower pieces for better air and articulation control.
Maybe that's why my friend John Yeh with Chicago plays on a tip opening of 120 plus with a 5 strength reed and a double lip! Julian Bliss plays on a very heavy setup as well, but uses a single lip with a 5 strength reed and a VERY short facing. They are animals!
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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The Clarinet BBoard
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