 The Clarinet BBoard
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Author: beejay
Date: 2006-05-20 11:36
Can anyone tell me whether it is possible to play staccato with a reed on top embouchure. In other words, what kind of effect did 18th-century composers have in mind when they over- or under-dotted notes in clarinet parts?
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Author: BelgianClarinet
Date: 2006-05-20 22:37
I seem to remember that some people played somekind of staccato with the lungs - breath (not the tongue), maybe that technique was used ?
(maybe I just mixed up thinks)
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Author: Ken Shaw ★2017
Date: 2006-05-20 23:27
If you play double lip (as I do), it's not too difficult to turn the reed on top and play for a few seconds. You have to reposition your tongue, but the tonguing itself is not difficult, and it's actually a bit lighter that way.
There's an excellent article at the Australian Clarinet & Saxophone Society site, http://www.clarinet-saxophone.asn.au/downloadabledocs/The%20Reed-above%20Embouchure.pdf.
Gino Cioffi was an amazing player who was principal in the Boston Symphony in the 1950s and 60s. He learned to play with the reed up and preferred to play that way. He switched only because he couldn't find work with the "non-standard" setup.
Ken Shaw
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Author: David Peacham
Date: 2006-05-21 00:03
I can play double-lip after a fashion, as I guess all of us can, but I can't play reed-upwards. Did reed-upwards players use a different design of mouthpiece to facilitate playing that way?
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If there are so many people on this board unwilling or unable to have a civil and balanced discussion about important issues, then I shan't bother to post here any more.
To the great relief of many of you, no doubt.
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Author: beejay
Date: 2006-05-21 11:04
Well, I also play double lip, but cannot figure out how to do a sustained staccato passage with the mouthpiece inverted. I'm aware that reed on top was common until well into the nineteenth century. I've looked in vain for any evidence that Anton Stadler played that way. Does anyone happen to know?
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