Thomas Piercy - Versionsgeschichte

Fawinike am 6. April 2021 um 13:39 Uhr

2021-04-06T13:39:51Z

← Nächstältere Version		Version vom 6. April 2021, 15:39 Uhr
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	{{SORTIERUNG:Piercy, Thomas}}		{{SORTIERUNG:Piercy, Thomas}}
	~~[[Category:Interviews in English]]~~
	<references />		<references />
	==Thomas Piercy’s teachers==		==Thomas Piercy’s teachers==
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	[[Kategorie:Interviews\|Piercy, Thomas]]		[[Kategorie:Interviews\|Piercy, Thomas]]
			[[Kategorie:Interviews in English\|Piercy, Thomas]]

Fawinike am 6. April 2021 um 13:39 Uhr

2021-04-06T13:39:43Z

Änderungen zeigen

Heinrich: /* Double lip evokes sensibility all around */

2020-07-20T14:18:13Z

Double lip evokes sensibility all around

← Nächstältere Version		Version vom 20. Juli 2020, 16:18 Uhr
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	''HM: So you would say all these muscles and also the whole mask of your face is involved in the embouchure?''		''HM: So you would say all these muscles and also the whole mask of your face is involved in the embouchure?''
	<br><br>		<br><br>
	TP: Yes, because the upper lip is so much involved that suddenly it feels as your nose is being involved too. When you’re pushing down your upper lip, you are feeling that your cheeks are also engaged. With single lip I’m not feeling much in my cheeks. And I try, for me, to play with as little tension as possible and I find double lip forces you to not play with tension, or if you do play with tension, immediately you know it, because you’re going to feel it here (the contact with the instrument at the upper lip) or if your fingers are slamming, you’re going to feel as well ~~With~~ single lip, you can slam your fingers around; you don't feel so much of it. Double lip, if you start slamming it, you also start feeling it this way: the clarinet would fall out of your mouth!		TP: Yes, because the upper lip is so much involved that suddenly it feels as your nose is being involved too. When you’re pushing down your upper lip, you are feeling that your cheeks are also engaged. With single lip I’m not feeling much in my cheeks. And I try, for me, to play with as little tension as possible and I find double lip forces you to not play with tension, or if you do play with tension, immediately you know it, because you’re going to feel it here (the contact with the instrument at the upper lip) or if your fingers are slamming, you’re going to feel as well with single lip, you can slam your fingers around; you don't feel so much of it. Double lip, if you start slamming it, you also start feeling it this way: the clarinet would fall out of your mouth!
	<br><br>		<br><br>
	''HM: Because holding a clarinet becomes part of the embouchure.''		''HM: Because holding a clarinet becomes part of the embouchure.''
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	<br><br>		<br><br>
	TP: You will feel it.		TP: You will feel it.

			[[Kategorie:English\|Piercy, Thomas]]
			[[Kategorie:Interviews\|Piercy, Thomas]]

	====Consider the shape of the lips and teeth====		====Consider the shape of the lips and teeth====
	''HM: I see your lips are quite thin. I have a colleague he has small lips like you. He was afraid of being assigned to the Italian teacher of his universtity, who wanted everybody to play double lip. But would you say the form of the lips doesn’t matter?''		''HM: I see your lips are quite thin. I have a colleague he has small lips like you. He was afraid of being assigned to the Italian teacher of his universtity, who wanted everybody to play double lip. But would you say the form of the lips doesn’t matter?''

Heinrich: /* Practice double lip in an upright position */

2020-07-16T14:59:58Z

Practice double lip in an upright position

← Nächstältere Version		Version vom 16. Juli 2020, 16:59 Uhr
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	====Practice double lip in an upright position====		====Practice double lip in an upright position====
	''HM: I heard about [https://en.wikipedia.org/wiki/Harold_Wright_(clarinetist) Harold Wright]playing double lip embouchure always in a sitting position. He also used to put the clarinet on his knee while playing.''		''HM: I heard about [https://en.wikipedia.org/wiki/Harold_Wright_(clarinetist) Harold Wright] playing double lip embouchure always in a sitting position. He also used to put the clarinet on his knee while playing.''
	<br><br>		<br><br>
	TP: And because he did that, a lot of American clarinetists say: ”Oh, if you play double lip, you have to sit”. I stand most of the time, because to me, if I’m moving, it’s kind of weird, maybe it obviously worked for Harold Wright, he can do what he wants, but for me I feel physically constricted and also many of the notes that are coming out of the bell or the lower part, I feel the difference, like [the sound waves are] coming back at me. I don’t think the audience hears it but I do and I react to it; so I want it here.		TP: And because he did that, a lot of American clarinetists say: ”Oh, if you play double lip, you have to sit”. I stand most of the time, because to me, if I’m moving, it’s kind of weird, maybe it obviously worked for Harold Wright, he can do what he wants, but for me I feel physically constricted and also many of the notes that are coming out of the bell or the lower part, I feel the difference, like [the sound waves are] coming back at me. I don’t think the audience hears it but I do and I react to it; so I want it here.
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	<br><br>		<br><br>
	''HM: Yes, as part of the embouchure building.''		''HM: Yes, as part of the embouchure building.''

			[[Kategorie:English\|Piercy, Thomas]]
			[[Kategorie:Interviews\|Piercy, Thomas]]

	====Transfer all the advantages of double lip to single lip====		====Transfer all the advantages of double lip to single lip====
	''HM: If somebody tries, can he transfer all the advantages of double lip to single lip?''		''HM: If somebody tries, can he transfer all the advantages of double lip to single lip?''

Heinrich: /* Changing from single to double lip embouchure */

2020-07-16T14:59:17Z

Changing from single to double lip embouchure

← Nächstältere Version		Version vom 16. Juli 2020, 16:59 Uhr
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	''HM: My idea is that when you play double lip, the shape of the oral cavity is changing. Throat, tongue and soft palate feel different than in single lip playing. And I think, if you try to transmit the constellations given in double lip playing to single lip, you’re changing your sound. Do you think I’m right?''		''HM: My idea is that when you play double lip, the shape of the oral cavity is changing. Throat, tongue and soft palate feel different than in single lip playing. And I think, if you try to transmit the constellations given in double lip playing to single lip, you’re changing your sound. Do you think I’m right?''
	<br><br>		<br><br>
	TP: Kal said to me: <nowiki>“</nowiki>you can play double lip today, but you won’t know what it really means: you need to take several months off from work and follow my instructions. If you are not willing to follow my instructions, I’ll kick your ass out.<nowiki>”</nowiki>. He was very brutal. I would go and sit in his lessons with other people; most of his students were older working professionals who came to him. I would take three months and after then, I would decide yes or no, I will see what works what doesn’t work, what was the benefit. I really followed his instructions, as frustrating it was for those three months. But, even after one week, I sort of knew, it is going to work. It felt good, more natural for me. My students can choose, I don’t make them play double lip, I will them try to experience it, but I don’t force anyone to switch. I am not of those people who think dogmatically: double lip is better than single lip. It depends on the player. If for me it works, I am the only one I have to live with.		TP: Kal said to me: <nowiki>“</nowiki>you can play double lip today, but you won’t know what it really means: you need to take several months off from work and follow my instructions. If you are not willing to follow my instructions, I’ll kick your ass out.<nowiki>”</nowiki> He was very brutal. I would go and sit in his lessons with other people; most of his students were older working professionals who came to him. I would take three months and after then, I would decide yes or no, I will see what works what doesn’t work, what was the benefit. I really followed his instructions, as frustrating it was for those three months. But, even after one week, I sort of knew, it is going to work. It felt good, more natural for me. My students can choose, I don’t make them play double lip, I will them try to experience it, but I don’t force anyone to switch. I am not of those people who think dogmatically: double lip is better than single lip. It depends on the player. If for me it works, I am the only one I have to live with.

			[[Kategorie:English\|Piercy, Thomas]]
			[[Kategorie:Interviews\|Piercy, Thomas]]

	====Practice double lip in an upright position====		====Practice double lip in an upright position====
	''HM: I heard about [https://en.wikipedia.org/wiki/Harold_Wright_(clarinetist) Harold Wright]playing double lip embouchure always in a sitting position. He also used to put the clarinet on his knee while playing.''		''HM: I heard about [https://en.wikipedia.org/wiki/Harold_Wright_(clarinetist) Harold Wright]playing double lip embouchure always in a sitting position. He also used to put the clarinet on his knee while playing.''

Heinrich: /* Kalmen Opperman's teaching methods */

2020-06-03T12:56:55Z

Kalmen Opperman's teaching methods

← Nächstältere Version		Version vom 3. Juni 2020, 14:56 Uhr
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	====Changing the angle instrument-body or leaning back with the head====		====Changing the angle instrument-body or leaning back with the head====
	Sometimes [we would experiment with the angel clarinet-Body] and pull the horn in. If you don’t want to pull it in, lean your head back, because it’s the same thing, but also changing the angle. I can be more comfortable [for the embouchure]. You know, Richard Stoltzman, he often plays with the clarinet very closed to the body. Obviously, that works for him, for his mouth and the position of his teeth. For me, I want to be more out, so when I need to achieve that, especially playing a C’’’ with double lip embouchure, I would lean my head back. You will see there are pictures or videos of me where I’m leaning back. People may think:” Oh! He’s feeling the music!” No, I am especially sustaining a high note, playing a diminuendo al niente. It is just a physical technique to achieve an effect.		Sometimes [we would experiment with the angel clarinet-Body] and pull the horn in. If you don’t want to pull it in, lean your head back, because it’s the same thing, but also changing the angle. I can be more comfortable [for the embouchure]. You know, Richard Stoltzman, he often plays with the clarinet very closed to the body. Obviously, that works for him, for his mouth and the position of his teeth. For me, I want to be more out, so when I need to achieve that, especially playing a C’’’ with double lip embouchure, I would lean my head back. You will see there are pictures or videos of me where I’m leaning back. People may think:” Oh! He’s feeling the music!” No, I am especially sustaining a high note, playing a diminuendo al niente. It is just a physical technique to achieve an effect.
	====Kalmen Opperman's teaching methods====		====Some of Kalmen Opperman's teaching methods====
	TP: Kalmen would call his students, because he had students all over the world, so he would say: ”Play me a chromatic, single tongue, [sixteen notes, tempo quarter] 144: go!” He would listen and he would be able to hear over the phone and says:” No, your tongue is coming too far off and you’re hitting to hard. Ok, I talk to you tomorrow” and he hang up!		TP: Kalmen would call his students, because he had students all over the world, so he would say: ”Play me a chromatic, single tongue, [sixteen notes, tempo quarter] 144: go!” He would listen and he would be able to hear over the phone and says:” No, your tongue is coming too far off and you’re hitting to hard. Ok, I talk to you tomorrow” and he hang up!
	<br>		<br>

Heinrich: /* Thomas Piercy’s teachers */

2020-06-03T12:56:32Z

Thomas Piercy’s teachers

← Nächstältere Version		Version vom 3. Juni 2020, 14:56 Uhr
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	Gervase in lessons never talked about embouchure. Now, I hear so many clarinet teachers and clarinetists younger than I am, who always talk about voicing. So my three main teachers, de Peyer, [https://en.wikipedia.org/wiki/Kalmen_Opperman Opperman] and [https://www.dansr.com/vandoren/resources/three-20th-century-juilliard-clarinet-masters Leon Russianoff] never ever used the word “voicing”		Gervase in lessons never talked about embouchure. Now, I hear so many clarinet teachers and clarinetists younger than I am, who always talk about voicing. So my three main teachers, de Peyer, [https://en.wikipedia.org/wiki/Kalmen_Opperman Opperman] and [https://www.dansr.com/vandoren/resources/three-20th-century-juilliard-clarinet-masters Leon Russianoff] never ever used the word “voicing”
	Suddenly when I started hearing that about 20 years ago, I was like… I know what they’re talking about, but I’m not sure, was this fashion, or was that emphasis on voicing to get like high note or whatever didn’t come out well justified? These three teachers who were great teachers and players, never ever used the word “voicing”. They may have say: “Push the air faster”. Opperman was very much about “put more mouthpiece in” or “pull in [the mouthpiece]” and sometimes he would talk about raising your tongue, but he never used the word “voicing”. So, I thought that was very interesting.		Suddenly when I started hearing that about 20 years ago, I was like… I know what they’re talking about, but I’m not sure, was this fashion, or was that emphasis on voicing to get like high note or whatever didn’t come out well justified? These three teachers who were great teachers and players, never ever used the word “voicing”. They may have say: “Push the air faster”. Opperman was very much about “put more mouthpiece in” or “pull in [the mouthpiece]” and sometimes he would talk about raising your tongue, but he never used the word “voicing”. So, I thought that was very interesting.

	~~[[Kategorie:English\|Piercy, Thomas]]~~
	~~[[Kategorie:Interviews\|Piercy, Thomas]]~~

	====Staying curious====		====Staying curious====
	TP: Certainly de Peyer was my biggest influence how I play and still, but it was interesting to go to Kalmen as a mature player, learn something new, I would still work a few times a year with de Peyer because I trusted him more than anyone. He was also very curious about what I’m doing and how I’m doing. He would still be curious.		TP: Certainly de Peyer was my biggest influence how I play and still, but it was interesting to go to Kalmen as a mature player, learn something new, I would still work a few times a year with de Peyer because I trusted him more than anyone. He was also very curious about what I’m doing and how I’m doing. He would still be curious.
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	<br><br>		<br><br>
	TP: I have thought about it because those three main teachers, studying with them so long. As Opperman’s assistant, I helped him write his later books. Opperman and Russianoff came from similar backgrounds but were so different as teachers. I tell my students and other professionals, who may be thirty and they don’t need to study anymore! And I don’t want to insult any professional. But I want to tell my colleagues: “It would help you to go study again”. For whatever reason? Just to keep learning. And so, with those three teachers I had to learn so many different things. Until now I am full from what they taught me, hopefully, it still keeps me so curious! I don’t study with anyone now, but their voices are still in my head.		TP: I have thought about it because those three main teachers, studying with them so long. As Opperman’s assistant, I helped him write his later books. Opperman and Russianoff came from similar backgrounds but were so different as teachers. I tell my students and other professionals, who may be thirty and they don’t need to study anymore! And I don’t want to insult any professional. But I want to tell my colleagues: “It would help you to go study again”. For whatever reason? Just to keep learning. And so, with those three teachers I had to learn so many different things. Until now I am full from what they taught me, hopefully, it still keeps me so curious! I don’t study with anyone now, but their voices are still in my head.




	===Kalmen Opperman===		===Kalmen Opperman===
	''HM: You said you were forty when you were ready to start to study with new a teacher.''		''HM: You said you were forty when you were ready to start to study with new a teacher.''

Heinrich: /* The teaching vocabulary */

2020-06-03T12:55:22Z

The teaching vocabulary

← Nächstältere Version		Version vom 3. Juni 2020, 14:55 Uhr
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	Suddenly when I started hearing that about 20 years ago, I was like… I know what they’re talking about, but I’m not sure, was this fashion, or was that emphasis on voicing to get like high note or whatever didn’t come out well justified? These three teachers who were great teachers and players, never ever used the word “voicing”. They may have say: “Push the air faster”. Opperman was very much about “put more mouthpiece in” or “pull in [the mouthpiece]” and sometimes he would talk about raising your tongue, but he never used the word “voicing”. So, I thought that was very interesting.		Suddenly when I started hearing that about 20 years ago, I was like… I know what they’re talking about, but I’m not sure, was this fashion, or was that emphasis on voicing to get like high note or whatever didn’t come out well justified? These three teachers who were great teachers and players, never ever used the word “voicing”. They may have say: “Push the air faster”. Opperman was very much about “put more mouthpiece in” or “pull in [the mouthpiece]” and sometimes he would talk about raising your tongue, but he never used the word “voicing”. So, I thought that was very interesting.

			[[Kategorie:English\|Piercy, Thomas]]
			[[Kategorie:Interviews\|Piercy, Thomas]]

	====Staying curious====		====Staying curious====

Heinrich: /* Kalmen Opperman */

2020-06-03T12:54:59Z

Kalmen Opperman

← Nächstältere Version		Version vom 3. Juni 2020, 14:54 Uhr
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	<br><br>		<br><br>
	TP: With Kalmen Opperman, yes! I felt, that I had a little bit on tension in my jaw and the muscles back here. I went to Kal and said: “I’m curious about double lip”.		TP: With Kalmen Opperman, yes! I felt, that I had a little bit on tension in my jaw and the muscles back here. I went to Kal and said: “I’m curious about double lip”.
	~~<br><br>~~
	====Changing from single to double lip embouchure====		====Changing from single to double lip embouchure====
	''HM: My idea is that when you play double lip, the shape of the oral cavity is changing. Throat, tongue and soft palate feel different than in single lip playing. And I think, if you try to transmit the constellations given in double lip playing to single lip, you’re changing your sound. Do you think I’m right?''		''HM: My idea is that when you play double lip, the shape of the oral cavity is changing. Throat, tongue and soft palate feel different than in single lip playing. And I think, if you try to transmit the constellations given in double lip playing to single lip, you’re changing your sound. Do you think I’m right?''
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	<br><br>		<br><br>
	''HM: Yes, as part of the embouchure building.''		''HM: Yes, as part of the embouchure building.''
	~~<br><br>~~




	====Transfer all the advantages of double lip to single lip====		====Transfer all the advantages of double lip to single lip====
	''HM: If somebody tries, can he transfer all the advantages of double lip to single lip?''		''HM: If somebody tries, can he transfer all the advantages of double lip to single lip?''
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	<br><br>		<br><br>
	TP: Yes, and feel the muscles that form the oral cavity. Playing single lip, maybe you never get aware of that but playing double lip, they are there.		TP: Yes, and feel the muscles that form the oral cavity. Playing single lip, maybe you never get aware of that but playing double lip, they are there.




	====Double lip evokes sensibility all around====		====Double lip evokes sensibility all around====
	''HM: So you would say all these muscles and also the whole mask of your face is involved in the embouchure?''		''HM: So you would say all these muscles and also the whole mask of your face is involved in the embouchure?''
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	<br><br>		<br><br>
	TP: I have a typical overbite of clarinetists, I found that switching to double lip – you know my mouth was open more – and so the position was better for me than with single lip, the position with the over bite and where my teeth would hit on the reed. So just the fact that I opened up made it, so the overbite did not matter.		TP: I have a typical overbite of clarinetists, I found that switching to double lip – you know my mouth was open more – and so the position was better for me than with single lip, the position with the over bite and where my teeth would hit on the reed. So just the fact that I opened up made it, so the overbite did not matter.
	~~<br><br>~~




	====Influence of double lip on the articulation====		====Influence of double lip on the articulation====
	''HM: And the line where you touch the reed, did it change from single to double lip?''		''HM: And the line where you touch the reed, did it change from single to double lip?''
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	He was very analytical about how to play the clarinet, but he almost never talked about how to play music. We wouldn’t work on Weber or Bernstein or orchestra excerpts or anything. It was all the physical approach to the instrument. I was an older musician by that time, and he’d go: “you’re going be musical”. He firmly believed that you cannot teach musicality. “You’re either musical or you’re not! So, you’re gone do what you’re gone to do!” And I sort of agree with him, from my teaching, you can teach elements of musicality, you can say, crescendo here, ritardando there but those are just elements. If it is not really intuitively in you, it gets a little more difficult. You can teach style: Weber is different than Brahms, Mozart is different than Copland.		He was very analytical about how to play the clarinet, but he almost never talked about how to play music. We wouldn’t work on Weber or Bernstein or orchestra excerpts or anything. It was all the physical approach to the instrument. I was an older musician by that time, and he’d go: “you’re going be musical”. He firmly believed that you cannot teach musicality. “You’re either musical or you’re not! So, you’re gone do what you’re gone to do!” And I sort of agree with him, from my teaching, you can teach elements of musicality, you can say, crescendo here, ritardando there but those are just elements. If it is not really intuitively in you, it gets a little more difficult. You can teach style: Weber is different than Brahms, Mozart is different than Copland.

			[[Kategorie:English\|Piercy, Thomas]]
			[[Kategorie:Interviews\|Piercy, Thomas]]

	==Finger technique==		==Finger technique==

Heinrich: /* Instrument, mouthpiece and reeds */

2020-06-03T12:53:51Z

Instrument, mouthpiece and reeds

← Nächstältere Version		Version vom 3. Juni 2020, 14:53 Uhr
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	<br><br>		<br><br>
	TP: [He modified barrels. He changed the bore, made it wider or narrower, and changed the course of the drilling. And he made barrels in different woods, especially boxwood. They sweeten up the sound very beautifully. Then he did a lot of work with the mouthpieces. Both, mouthpieces and barrels were modified in several steps according to his sound conception, and after every step he wanted me to test if his modifications felt good to play. The closer the reed, the mouthpiece and the barrels connect, it makes an incredibly improvement on the sound, and on the intonation and also the backpressure while playing can be optimized.		TP: [He modified barrels. He changed the bore, made it wider or narrower, and changed the course of the drilling. And he made barrels in different woods, especially boxwood. They sweeten up the sound very beautifully. Then he did a lot of work with the mouthpieces. Both, mouthpieces and barrels were modified in several steps according to his sound conception, and after every step he wanted me to test if his modifications felt good to play. The closer the reed, the mouthpiece and the barrels connect, it makes an incredibly improvement on the sound, and on the intonation and also the backpressure while playing can be optimized.
	With the instruments he made a little bit of undercutting (the tone holes), and he did lighten up the springs. Kalmen wanted me to have very loose fingers, for that reason the springs have to be very loose, just enough that they would close. As a test, he wanted me to play very loud. When a spring is too loose, the pad connected with it would open.		With the instruments he made a little bit of undercutting (the tone holes), and he did lighten up the springs. Kalmen wanted me to have very loose fingers, for that reason the springs have to be very loose, just enough that they would close. As a test, he wanted me to play very loud. When a spring is too loose, the pad connected with it would open.

			[[Kategorie:English\|Piercy, Thomas]]
			[[Kategorie:Interviews\|Piercy, Thomas]]

	==Choose a teaching vocabulary that does not imply tension==		==Choose a teaching vocabulary that does not imply tension==
	TP: There was a mental thing with me, pushing up made me think of the word “push” negatively. I said: „what if I just lean in?” To me just visualizing leaning into the note, instead of pushing up, made me more relax. It’s like when for articulation, I never use the word “attack”, because I think it’s a harsh word, and also the word “break”. De Peyer would just say: there is no such thing as the word break, there are registers of the clarinet and you are changing registers. If you think of this word, “break” and what that means, you’re creating an obstacle. You are just changing registers.		TP: There was a mental thing with me, pushing up made me think of the word “push” negatively. I said: „what if I just lean in?” To me just visualizing leaning into the note, instead of pushing up, made me more relax. It’s like when for articulation, I never use the word “attack”, because I think it’s a harsh word, and also the word “break”. De Peyer would just say: there is no such thing as the word break, there are registers of the clarinet and you are changing registers. If you think of this word, “break” and what that means, you’re creating an obstacle. You are just changing registers.