eb clarinet

April 7, 2016

Hi Sherman I have a 60’s era B&H Imperial Eb clarinet which I use for doubling in concert band and orchestra. It is a little powerhouse of an instrument and I love playing it, with reservations. It has it’s original mouthpiece. The problem is I don’t like it. I use Eb reeds in preference to cutdown Bb. I play a pair of Leblanc LL’s with a Vandoren B40 mouthpiece usually. I have tried a couple of Vandoren mouthpieces with the Eb and while they feel great to play, they just don’t suit this instrument. Any suggestions on modern mouthpieces that may suit this lovely little clarinet as I don’t have access to be able to just try a wide range. Thanks Kelli

Kelli:

your lls are a great choice. If the mouthpieces for Eb, play well, getting used to them will or should not be difficult

Have a good time with your monster

stay well

sherman


sharp with Selmer D MP double lip

February 19, 2016

Hello Sherman Friedland, I have had some long standing (30 years) tuning issues with my Selmer B flat clarinet. Generally the pitch at A440 on my tuner is sharp by 5 Hz even when I pull the tuning barrel out up to 2.5mm. I use the original mouthpiece stamped with a ‘D’. For some time I used a Vandoren 5RV lyre mouthpiece but still had the problem. With concentrated effort I can bring it back into tune but over longer sonatas etc, I feel I get sharp. I was wondering whether it is a barrel issue. I measured the barrel at 66mm long and has a bore of 13.5mm. should I seek a longer barrel? If so how much longer?

 

Hello and cheers

AVD  mouthpiec labeled M L 13 was recommended and it tuned well, after all the others.Their version of one by Chedeville, and I found to be superb for many years, if not superior for everything.

stay well///..

 

sherman


he effect of the sound in you oral cavtii y

February 14, 2016

Professor Friedland, I would like to communicate with you regarding the subject of the effect of the oral cavity in clarinet tone production . Your opinions as a clarinetist would be very much appreciated I communicated with you (only) once when I learned you were a colleague of ALLEN SIGEL, my teacher when I was an undergraduate at the then University of Buffalo, I hope this reaches you and I look forward to your reply.As for me it would be an exceptional pleasure to communicate with you re the subject above. Michel G. Mulawka PS; I trust the following will bring back a memory. I came across a picture of you and others performing (?) the Gyorgy Ligeti Poeme Symphonique for 100 Metronomes @ the Albright Knox Art Gallery in 1965. I attended a second ‘performance’ (?) of same @ Albright – to this day ‘no comment’! save for/

 

Professor Friedland,

I would like to communicate with you regarding the subject of the effect of the oral cavity in clarinet tone production
.
Your opinions as a clarinetist would be very much appreciated

I communicated with you (only) once when I learned you were a colleague of ALLEN SIGEL, my teacher when I was an undergraduate at the then University of Buffalo,

I hope this reaches you and I look forward to your reply.As for me it would be an exceptional pleasure to communicate with you re the subject above.

Michel G. Mulawka

PS; I trust the following will bring back a memory.

I came across a picture of you and others performing (?) the Gyorgy Ligeti Poeme Symphonique for 100 Metronomes @ the Albright Knox Art Gallery in 1965.
I attended a second ‘performance’ (?) of same @ Albright – to this day ‘no comment’! save for/

 

Hello mr mulawka,\

easy answer, the cavity you mention has virturtually no effect.
The response is diRECTLY THROUGH YOUR EARS ONLY. filtered through your perception of sound, directly connected to the functionality 0f your embouchure, you actually control the effect through all of your development.

The sound as we say, is in your head.

cordially, ]
sherman friedland


home invasions at Heartwood

February 11, 2016

I had what was apparently a home invasion in my room today. A little person in a wheelchair opened  my door, wheeled herself in , and began opening the drawers oF my dEsk. She seemed impervious to my words, asking her to leave, and said not one word, regardless oF my requests for her to leave. No matter what I said, all was disregardEd, her expression unchanged, the movements . She took a remote for my Tv. which was dropped on the floor and conttinued her foraging.

Heretofor, I have had many visits, most of which having been made in my absence, the lateest being a backstratcher, a cute gift ftom my wife. If there is a pack of cookies,it is almost always takEn, the wrapper just left . When first being told thst Heartwoo is my home a I had alarge collecton of Watches, not worth anything,, simply a matter of acquisition over a long period of time, an obbsession over a lon© period of time . Then, the best of these went missing, and I had the collection taken ro my home, my real home.

Heartwood is not.


The demon caller

February 5, 2016

Each morning, for as long as ican remember, at exactly 4:30 AM, my phone rings exactly once, and only once. And, Idont have any idea who is the caller. Now, can it be someone whom I know? Or, someone who is unknown? Is it to remind me of something which has left my memory? I have always prided my self concerning memory.

But as these calls continue, always at 4:30 AM.and only once, doubts are beginning to multiply. Natrully, it could be anyone. About anything, and I dont have Åny clue.

Or, can it be some indication of actual old age? This is disturbing. I am living in a place where screams can be heard at any time, without warning, where this is much dimentia present, coming virtually all day and night, with no warning of any kind.

What does one do? Tell a support worker? I dont think so. That would draw attention to no one else but me. And somehow, that is troubling. Anyway, I feel the need of a coffee, If you are actually out there, ring more than once. If so, I may answer the ring, but now, I am not so sure.

sherman at Heartwood.


Double lip embouchure

January 24, 2016

Hello Professor Friedland,

I played the clarinet 43 years ago and just recently started studying it again. I’m trying the double-lip embouchure. It works great until I get to F on the staff. It’s here where I have problems balancing the clarinet. When I use my upper teeth I have no problem. I just can’t figure out to balance the clarinet staff and higher notes. Thank you, Marty

Dear Marty, Double lip embouchure is actually preferred by many as a way of holding the mouthpiece between your lips, instead of the teeth. It makes for more sensitivity to the sound, actually making a better sound more easily controlled and almost always preferable to any other wayc of  playing the clarinet. When first playing the f on the staff, there is no way of controlling because you are holding the instrument with only one finger, Many players simply place their left index finger above the a key, holding the instrument without using the key which will give you the control you need , momentarily. As soon as this becomes somewhat habitual, you will develop the control to hold the instrument while you are negotiating this problem..The same problem occurs when you play high c., and solved by the same method.

Good luck, and practice,sf


The Leblanc Dynamic, Pete Fountain model

December 31, 2015

Dear Sir:

the clarinet of which you speak is simply the Pete Fountain model Leblanc, and it was and is an excellent instrument,Over a long time and trying many clarinets, all of the Leblancs I have ever played are really good insruments. The very best Leblanc was and is the Opus, designed by Tom Ridenour, when he was chief designer for Leblanc, and there were others. the Sonata, and the Conceto. Better in tune, excellent sounding and buit very correctly and well.
On 27-Dec-15, at 5:52 PM, Ríordan James Flynn wrote:

Hi there,

 

I have a Leblanc Dynamic H clarinet with the unusually articulated G# key and and a Pete Fountain signature on the bell. According to the internet, the serial numbers for this model start at 268xx, but mine is 23771. These models were made sometime in the 50s?

It was given to me with the idea that it once belonged to Pete Fountain, but I imagine this is apocryphal. The clarinet came to me by a man named John Hayslip, who it was given to by a man named Tater Danke. Hayslip swore that Danke had gotten the instrument from Fountain, but there’s no telling, as he passed away some years ago.

However, a quirk of this instrument is that its larger pads were signed by someone named Bob Mario. To my knowledge most people don’t sign clarinet pads!

I’m not interested in selling the instrument, but I’m very curious as to what you might know about it.

Thank you in advance for your time.

All the best,
-MF