Author: Tom Puwalski
Date: 2005-12-05 16:22
Here is my 2 cents:
teach what you know don't preach it.
If somebody comes in with a single lip embouchure and sounds great why change it?
--
Sylvain Bouix <sbouix@gmail.com>
Why does one go to a teacher? I would presume it's to get that teacher's take on clarinet problem. I for one if I walked into a lesson with Iggy Gennusa and he said, "Tom, I sound good becuase I rub my reed with peanunt butter," I would as a student get the biggest jar of Skippy I could find. Rub my reeds with it, and see and listen and record and figure out if made a differance. If after a few days I didn't detect any differance I'd go to my next lesson and get clarification. I'd take my jar of skippy into Iggy and have him watch me rub peanut butter on my reed. If he than said something like " Tom, I didn't mean chunky peanut butter", I would go get a jar of creamy and try it again.
I would not, as alot of students do today, is tell him that peanut butter doesn't work. Today, that seems to be par for the course, people discredit methoeds ideas without giving them a try.
Double lip is exactly like that. Are there players that sound good playing single lip. Hell yea there are! They are letting the reed vibrate and doing exactly what I described in my first post, where I said that the top lip isn't the reason double lip works. Well it's time to get back to Jettle studies and trying to make them work on the bass clarinet.
I have heard that Tony Pay does use a very expensive variety of peanuts which he hand grinds into exactly right consistancy for his reeds. I would like the recipie and wonder if it's the same for all the types of clarinets that he sounds great on!
Tom Puwalski, former soloist with the US Army Field Band, Clarinetist with Lox&Vodka, and Author of "The Clarinetist's Guide to Klezmer"and most recently by the order of the wizard of Oz, for supreme intelligence, a Masters in Clarinet performance
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