Author: dorjepismo ★2017
Date: 2017-01-10 17:52
There has to be resistance somewhere, and where it is can drastically affect the end result. David Pino, in "The Clarinet and Clarinet Playing," argues for free-blowing instruments, mouthpieces and embouchures, with the resistance centered on the heart of the reed. Don't know that that's exactly what I do, but it's somewhat close. Anyway, the first thing is probably deciding what one ideally wants, and after that, running around trying to find the gear and techniques that produce it.
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