Klarinet Archive - Posting 000161.txt from 1994/07

From: JLYTTHANS@-----.COM
Subj: High notes for beginners.
Date: Fri, 22 Jul 1994 18:12:34 -0400

In spite of the fact that I have taught junior high beginners on
clarinet (and many other instruments) for over 30 years, I still have trouble
with many of my young students (discipline, as well as upper clarion
notes!!).
As you know, each player's embouchure is different, involving
physiological complexities we, as teachers, cannot really diagnose
effectively for all students. The art of clarinet instruction to a large
group of youngsters is, at best, a "shotgun" approach. What I do and say
works for most, but not all..
If you start 20 players on clarinet is a class setting, generally 4 or 5
produce a good sound almost immediately, 9 or 10 more struggle with the
typical "up chuck" tone (pardon the crudness), and the remaining 5 or 6
produce what is similar to the mating call of some wild beast.
Most method books start with second-line G and work down to middle C,
spend weeks on these 5 or 6 notes (adding the throat A and Bb), briefly
introduce the notes of the right hand (with all its inherent leaks and
squeeks), and then expect the student to cross Mount Everest (The Break).
These books then force the student up the ladder of the clarion octave. If
the young player is not a bit traumatized by now, he soon will be. There is a
better way.
I introduce the upper clarion notes as a natural extension of the first
left-hand notes, after they have really developed a good, focused tone in
that range. The right hand is introduced later. My students are asked to
produce a good middle C, one at a time. I then walk behind them, and open
the register key. Most students produce a good G without much effort at this
point, provided the embouchure needed for the first note is set properly. I
then assist them in the same manner with the remainder of the upper clarion
range to C. The students will often help each other by opening their stand
mate's vent key. Some students, after a few sessions at this, learn to use
the vent key themselves. This activity becomes somewhat of a game in my
classes. It's loud, but fun for the kiddies. After the upper clarion notes
(G-C) are fairly secure, I then introduce the right hand, working from the
ends of the clarinet range to the middle. The concept of "the break" is
NEVER mentioned in my classes! Why scare the poor darlings?!
As teachers, we must be constantly on guard for bad playing habits
developing in our students. Such things as articulating in the throat
("k.k.k.k...."), upper lip over teeth (I don't encourage double lip in
beginners!), bad hand positions, etc. are really difficult to correct later
on. I model for the students by playing along with them every day. It's great
for the kids (and good practice for me!). So many of my colleagues never
touch their instruments after college, saying that they don't have time now.
Rubbish! How can you teach music if you don't play music?
In closing, let me restate that problems with tone production in the
upper clarion range often result when the players are afraid of the sounds
produced. Tension ruins their ability to produce a natural sound. A good
upper range will result after your students are comfortable with the lower
range of their instrument, then producing the 12th intervals as just another
note with the same fingering.
Good luck!