Klarinet Archive - Posting 000419.txt from 1995/06

From: Thomas Labadorf <Labadorf@-----.COM>
Subj: Re: Tongue position - again!
Date: Mon, 19 Jun 1995 12:48:31 -0400

Tom,

I'm a little slow on the uptake in this string since I was busy. I realize
you have your fill of advice on tongue position, but I'm going to let this
message out anyhow just in ase it ill help. I wrote it before I read Neil
Leupold's response to your delema. Although stated a different way, I think
he says essentially the same things except about the part about studying
privately on a consistent basis. Neil, you and I think a lot alike. (BTW,
did you ever get the Calandrelli Concerto clarinet part?)

-------
All these specific instructions you have received from your teachers in years
past are doing more to confuse you than help. In the final analysis, you
should be your own teacher. Listen to your own playing. Do you like the way
you sound? If not, experiment. You seem to be "missing the forest for all
the trees."

There's been a lot of talk about how to teach and learn. My basic approach
to teaching (when using verbal communication, that is) is to give the student
a basic understanding of what might make a good sound, and also provide some
ideas to use for experimentation. I don't give definate answers because they
might not work for my student as they work for me. (Maybe Dan Leeson is
right. Maybe I just don't know the answer. I think I do, but then again,
I'm pretty sure I put some clothes on this morning.) A good example of this
is the use of alternate fingerings such as the low Eb chromatic fingering.
If your fingers are delicately shaped, this key is not a problem. If you
have lumberjack hands like mine, the right side key is much easier.

OK. So here is my basic understanding of tone production as related to
tongue position. In order to keep this message to a reasonable length, I
will make some assumptions. You fill your lungs fully and support your sound
with firm abdominal pressure. You have a good embouchure including jaw
placement. You are playing on a good set-up. ie. good mouthpiece, reed, a
well sealing clarinet. Did I miss anything? With this short paragraph, we
have a strong potential for a string from hell.

One concept you should always keep in mind is that the instrument you play
does not start at the mouthpiece, rather it starts at the bottom of your
lungs. I believe that the size of the your lung chambers and oral cavity
have a good deal to do with your sound. The bigger your mouth cavity, the
better the resonance of tone. An oversimplification. Actually, I think the
resonating chamber should be sized according to the frequency of pitch. I
have no scientific citing to support this, but I've noticed that some of the
most projecting opera singers have big barrely chests. Also, during my
Eastman days, I remember Robert Sprinkle teaching his students to puff out
one cheek while playing. It looked odd, but his students seemed to like it
for the extra resonance it provided.

Unfortunately, you can't always keep your tongue down. The clarinet needs
extra help with air direction depending on the range you're in. For high
notes (high 'c' and above) the back of the tongue needs to be up while the
front stays down to maintain the resonance chamber. This is where
experimentation comes in.

Tonguing:

To "doo" or to "too?" Is that the question? Let's not be black and white
about this. If you want an accented sound, you do the "too." If you want a
legato sound, you do the "doo." (Sounds like the lyrics for a Gilbert and
Sullivan patter). I articulate with the tip of my tongue touching slightly
below the tip of the reed, so that is what I teach. For speed, relaxation
and a minimum of motion is the key. When not tonguing, keep the tip of your
tongue as close to the reed as possible without interfering with the sound.
When tonguing, use the lightest amount of pressure while maintaining a clear
articulation. This way, articulation is almost like a controlled quiver.

That's it in a nut shell. There is more, and I'm sure you'll have questions.
This little explanation seems a bit curt for the subject, but that is only
because I can demonstrate it better than explain it. My advice is to
experiment and try to match your sound to your concept of clarinet tone.

I've overstayed my welcome. I hope this helps. I gotta go.

Tom L.