You have to understand that in my husband's case, he started studying
clarinet @ the age of eight & started voice lessons @ the age of 41. His
teacher is trying to undo the breathing habits he developed playing
clarinet, at least when he sings. Apparently, it is not a very efficient
use of breath. Christine Thomas' e-mail from today eludes to this also.
He did comment at the last band concert that he played that he
incorporated some of the "new" techniques in one of the longer passages
that he had to play & it made it much easier. Whether he'll be entirely
able to switch to a "singing" techinque of breathing when playing
clarinet is yet to be seen as he doesn't play as much as he used to. This
will become especially evident in December when we do a Woman Composers
recital & he trots out pieces that he has done a number of times using
the other technique.
Pat Smith
On Sun, 15 Oct 2000 09:28:43 EDT singersuki@a... writes:
> In a message dated 10/14/2000 7:41:26 PM Eastern Daylight Time,
> dgcsorcmgr@j... writes:
>
> << The breathing method used for clarinet would make a singer very
> noisy. >>
>
> Breathing is breathing. I used the same method for both with great
> success.
> Once I learned the singer's breathing, I applied it to the clarinet,
> and it
> made playing easier. I have also taught it to oboists, flautists,
> bassoonists, french horn players, trumpet players and trombone
> players, or
> basically, the whole wind section, and they all were and still are
> excellent
> players. They all still use the singer's breathing with complete
> success.
>
> If you're playing a wind instrument AND singing, I would certainly
> pick one
> method of breathing and use it for both. Learning and using two
> would be a
> lot of extra work.
>
> Suki T
>
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