Author: SecondTry
Date: 2023-03-22 06:18
BarrelOfMonkeys wrote:
> OK. Now my question for you is, what exactly is "force" in this
> sense? And does one method or the other favor it in some way?
>
>
> Post Edited (2023-03-22 04:20)
I can't speak for Paul as he first introduced the word "force" here. That said, IMHO, force here (at least my way of seeing it) is the application of more energy to achieve a clarinet objective than others have expended to get no less impressive results.
I suppose that force could apply to anything that exerts pressure on the clarinet from wind to embouchure to fingers to mindset to posture...etc.
...And does one method or the other favor it in some way..I'll say yes--although my choice of word wouldn't be "favor," but "allow."
Stronger reeds, stronger bite, more open mouthpieces...too painful for most double lip players.
I hesitated in initially responding initially to this thread because unlike Paul I am not completely past the "pain," if not the "learning" curve and chose to equate the two. There are things I can't do, or do as well double lip, like play well near the upper C7 range, or circular breath.
The difference in my sound between double and single lip is very little, I believe in part to what I've learned playing double lip, and applying what I like about my sound to single lip: like keeping my upper mouth palette as open as possible--although I like my double lip sound best.
I'm sort of, I say "tongue in cheek," (pun intended, not literally) part of the Ricardo Morales school of thought on double lip: https://youtu.be/VZUOfN-wQEY
But at this point most of my pain isn't biting on my upper lip but muscle fatigue for employing muscles not used (as much) in single lip play.
~~~~~~
All this said, I don't know that the acronym WTFNMAW stands for and I'm guessing that the initial part of it isn't repeatable: your justification for reentering this world of clarinet with both sets of teeth covered.
I'm not sure why you'd impose that on yourself.
You enjoy a self proclaimed propensity to monkey around. I'd suggest, especially initially, that an etude book, metaphorical "horse blinders" and a metronome will take you father, faster. That said small experimentation with play that doesn't compromise the former certainly has its place in our developing the best version of our clarinet selves.
Post Edited (2023-03-22 06:21)
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