Klarinet Archive - Posting 000337.txt from 1995/02

From: David Gilman <dagilman@-----.EDU>
Subj: Re: Tongue Position
Date: Thu, 16 Feb 1995 19:19:03 -0500

>Return-Path: <@-----.BITNET>
>Date: Thu, 16 Feb 1995 13:49:52 CST
>Reply-To: Klarinet - Clarinettist's Network
<KLARINET%VCCSCENT.BITNET@-----.EDU>
>Sender: Klarinet - Clarinettist's Network
<KLARINET%VCCSCENT.BITNET@-----.EDU>
>From: Tom Ascher <U15310@-----.EDU>
>Organization: University of Illinois at Chicago
>Subject: Re: Tongue Position
>To: Multiple recipients of list KLARINET
<KLARINET%VCCSCENT.BITNET@-----.EDU>
>
>In advice for beginner, several people have commented on tongue position.
>My clarinet teacher has made a big thing out of keeping the tongue up
>in the mouth. Which I found awkward at first, but now that I'm used to
>it find it really helps in the high registers, and also with tongueing
>action, as the tip of the tongue stays closer to the reed. But, I have
>also seen many texts, etc., that emphasize an ah or oo sound rather than
>an ee and have even seen a text that recommends touching the tip of the
>tongue about a quarter of an inch below the tip rather than at the tip.
>I've also read, heard recommendations to keep same embouchure through all
>ranges of the clarinet. My suspicion is that the tongue position, embouchure
>should be varied just as a singer varies the voice from chest to throat
>to head etc. I find that I get a richer, fuller sound in the lower ranges
>of the clarinet by opening the chamber of my mouth and throat, although I
>can keep the FRONT of the tongue up and close to the reed in all ranges.
>Bringing the back and sides of the tongue up for the higher, altissimo
>tones seems to create more pressure with less work. I suspect also that
>few people really have a very clear idea of where the various parts of
>the tongue are while playing. I further suspect that the shape of the
>tongue varies with individual! Would be curious to hear more comment on
>this.
>
>=====================================================================
>Tom Ascher Internet: u15310@-----.edu
>University of Illinois at Chicago Phone: (312) 413-3665
>
>
Tom,

As I mentioned before, I had poor results when I tried raising the back of
the tongue as far as tone goes. Do you really feel a difference in
altissimo response when you do it? In Tom Ridenour's recent article he used
the venturi concept to describe the effect of raising the tongue to the
upper molars: the smaller cross-sectional area of the passage the air
travels through causes it to emerge with greater pressure [something like
putting a nozzle over the end of a garden hose]. He said it should make for
a clearer sound. I found it clear, but too bright. I must admit, however,
that I did not try it long enough to get comfortable with it. In general,
though, I agree completely that the body should not remain static through
all registers: little adjustments need to be made for each range (and
sometimes for each note).

I'm glad you brought up the subject of tongue position when attacking the
reed. I must have read the same material you did, because for years I
tongued slightly below the tip of the reed. Just a few weeks ago, my
teacher told me my attack was too muffled; so, now I tongue tip-to-tip most
of the time. But, I still use the other placement when I want a very broad
legato effect.

David Gilman