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Re: Double lip

Author: kdk ★2017
Date: 2020-11-22 04:16

Ah!

Tom is of course a well-known proponent of DL - somewhere in one or two of his videos he must explain why he prefers it. Harold Wright was a student, like Kalman Opperman (another DL promoter), of Ralph McLane, whose clarinet lineage went back to Hamelin and the French school.

Paul Aviles wrote:

> It offers different results. Listen to Harold Wright (the
> Shubert Octet particularly) to hear. It is light and flexible
> in sound. But if you need more of a "power" approach, you
> cannot do that easily with double lip.

Funny thing is, I'm not really sure that Wright always sounded "light and flexible." He did in any of the chamber music recordings I've listened to. But I also heard him play live twice, once at a one-off lesson I took while I was stationed at Ft. Meade and he was teaching at Catholic U., and once in a Boston Symphony concert in Symphony Hall. As I remember, he played quite powerfully in those two instances.

There have been other American players, particularly among Bonade's students (and including Bonade himself), who described their single lip approach as an attempt to mimic the action of a DL embouchure without actually tucking the upper lip under the teeth. I'm pretty sure I've heard Ricardo Morales say the same thing in at least one of his videos.

Karl

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Double lip new

Arnoldstang

2020-11-21 09:42