David Cook is Principal Clarinet of the Millikin-Decatur Symphony Orchestra and clarinetist for the Appian Duo and the Greyline Duo. Past performances include ClarinetFest®, the College Music Society National Conference, the NACWPI Conference, the American Single Reed Summit, the Clarinet Colloquium at Texas A&M University-Commerce, and the KNOB New Music Festival. David is currently Assistant Professor of Clarinet at Millikin University and a clarinet faculty member at Blue Lake Fine Arts Camp. MM degrees in clarinet performance and chamber music from the University of Michigan, and the DMA degree in clarinet performance and the MM degree in music theory from the University of Oklahoma. Kennen White. David is a Buffet Crampon USA Performing Artist and a member of the Silverstein Works PRO Team.
Thank you for this excellent overview of the principles of tuning the clarinet. What a subtle and mysterious art appropriate to this quixotic wind instrument.
I find the using just a very soft puff of air tells me much more when testing than flooding the reed with air. How little air it takes to get a response is key.
What I do is similar: I try for successive clear staccato notes (toot) on a continuous air stream, and to begin each toot with a deliberate removal of the tongue from the reed. I also try to snap my fingers very quickly from fingering to fingering. Practicing the passage slurred, slowly, with fast snaps of the fingers and left thumb helps. Basically it’s pumped up snapped fingers plus removal-toot on a continuous air stream. I find it builds up over a period of time. It’s almost the Bonade technique with perhaps a little different perspective. It will come to those who persist.
Awesome videos David thank you! Should I set my tuner to A440 or leave to transpose Bb. I like the transpose Bb because it shows the note I’m trying to play. Does it make a difference? Thanks again!🙏🙏🙏
This is a really great demonstration and explanation of the articulation concepts. Thank you very much! However, the link to download the etude is not functional.
Ok so random.. so do we play the entire etude or do we stop at a certain spot?? I learned the whole thing but in the past there was a certain spot to play but my director doesn't know either. Would you happen to know?
@@Person-lx1qu I’m not able to speak for all districts, but for mine specifically we must play the entire etudes. Hope this helps (you’re able to find more information on the official ILMEA website btw)
Beautiful piece and beautiful playing. Nice job in the transcription. Fit the clarinet very well. Now waiting for movement 3. I am assuming that movement is for Bass Clarinet.
Thank you! All of the movements can be done on either clarinet or bass clarinet - we just didn't get the recording of the third movement from this performance.
I hate Silverstein works!! Asked them many times to make an Omnipatch with deeper tooth groove and they won't.. Very disappointed by them.. Please! Can you suggest this yourself to them? Maybe they hear you..
@@jimis3167 Don’t ask what? Think about your comment for a second. I’ve never seen anyone with such a complaint about the Omnipatch. Why should they change the design all for one person’s critique? Then, you’re out right hating them because they won’t do your bidding? You’re hilarious.
@@Evan-kj6ye Actually, If you watch reviews more carefully, there are many saying same thing (that tooth groove is too thin and teeth slipping off the patch). People just didn't happen to ask Silverstein to correct the Omnipatch. I think would be a really fantastic change and this would become best mouthpiece patch ever! As teeth would lock on the mouthpiece like no other patch and embouchure and tong would be completely free. So, as you'll see the reviews, this doesn't come entirely by me, many would like that I think. It's not one person's opinion, I just happened to suggest to them but unfortunately they didn't took It under consideration. So, that's why I don't like the company. They may have great ligatures but all aspects matter If you ask me.
@@jimis3167 Out of everyone that I know who owns this Omnipatch and also whom swear by Silverstein, have no such issue. Reviews that I’ve pulled from online distributors also rave about the Omnipatch and only few who think that the patch is a waste of money. The groove mechanism of the Omnipatch is a good indicator for where your teeth go, but in no way should it compensate for the lack of stability of a embouchure.
Futuristic concerto as a soundtrack for a sciencefiction - film ! More about the composer, please ! Who is he, what is his *message*, or will he be free of all ?
I love that you show what too far/too little is on the clarinet - I think it's important for students to not only see "how" to form the embouchure, but know when it's wrong so they know how to fix it as well. This is a great video for my students, thank you!
