by Ingrid Elizabeth Pearson

In 1954, a fellow Australian, H.C. Thomas of the Central Command Band of the Australian Regular Army, wrote to The Clarinet requesting some information concerning the method of playing the clarinet whereby the reed sits under the top lip. In his reply, published later that year, James Collis explained that the technique was then still practised in Italy, and that he had even heard two such clarinettists perform in his native America. 

For the complete article please click here 

by Stephen Fox

It is useful for clarinettists to know something of the scientific basis of how a clarinet works, on a slightly deeper level than the superficial descriptions given in general clarinet books, both for practical reasons (for example, understanding and solving tuning problems) and just for intellectual satisfaction. This article will attempt to give a brief sketch of some aspects of this large and subtle subject.

To download the complete pdf article click here  

by James Nightingale

To continue the discussion started by Peter Rickard in the last issue of Australian Clarinet and Saxophone, I would like to introduce Dr John Sampen, who is the Distinguished Artist Professor at Bowling Green State University in Ohio. Dr Sampen is one of America’s leading concert saxophonists and is particularly recognised as a performer of contemporary music. He has recorded with Belgian and Swiss National Radio and is represented on the Orion, Albany and Capstone record labels. In addition to contemporary literature, Sampen regularly performs traditional saxophone repertoire in recital with pianist/composer Marilyn Shrude. He holds degrees from Northwestern University and has studied with Frederick Hemke, Donald Sinta and Larry Teal. He is an active member of the North American Saxophone Alliance, of which he has held the post of President.

To download the complete article please click here 

– Carmine Campione

The mouth, in the form of the clarinet embouchure, is the only body part connecting the player and the clarinet that helps produce a clarinet sound. As such, I believe the clarinet embouchure is the most vital link in the production of a clarinet tone and its great importance must not be underestimated. To the extent of one’s success or failure with their embouchure is the extent of one’s ability to produce a clarinet tone with respect to quality, size, and evenness, and to an even larger degree will determine one’s ease and control of that tone. In addition, a person with a good or natural embouchure will be able to come back to their normal playing ability a lot easier after a period of layoff than one whose embouchure is questionable or not as natural. The following is my attempt to explain this vital part of clarinet playing.
In the early 1970’s the Selmer Company approached me in hopes that I would play and endorse their new line of clarinets. In 1974, I was so impressed with their series 10G clarinet, and with their desire to manufacture a good product, that I began to play and endorse their clarinet. In addition, the Selmer Company asked me to write an article for their magazine, The Selmer Bandwagon. I decided to write on the subject of embouchure. So, in March of 1974, in Selmer’s Bandwagon magazine No. 71 the following article appeared. In all the years since then, my concept of embouchure has not changed one bit. Therefore, I am including that article in my new book, exactly as it appeared in the Bandwagon magazine in 1974.

For the complete article please click here