Klarinet Archive - Posting 000223.txt from 1996/06

From: Neil Leupold <nleupold@-----.EDU>
Subj: Re: undertones in high register
Date: Sat, 15 Jun 1996 01:22:44 -0400

Timothy,

I experienced your difficulty with undertones in the upper clarion
register several years ago. The problem may be manifold, affected by
such areas of technique as adequate abdominal air support, proper focus
of the air stream, and fundamental development of your embouchure
muscles. I believe that growing musicians and other artists undergo a
relatively lengthy phase of unbalanced technical development while
becoming progressively more facile in their craft. As a clarinetist, I
experienced a literal Renaissance after over a decade of this frustrating
phase of scattered growth, wherein the numerous areas of technique began
to integrate into a single physical mechanism, drawing together and
working in tandem to produce the tone and technical sophistication which had
seemed so elusive for so long. It's much like learning how to walk.
You're wobbly for a while, but once you get the hang of it, suddenly
growth spawns further growth and then it becomes a function of your
personality with respect to how far you go from there.

I know that all of the above seems terribly general, and perhaps even
smacks a little of the metaphysical, but the basic point is one of
patience. The specific areas mentioned -- air support, focus, and
embouchure development -- are key areas involved in producing (and
eliminating) that annoying undertone. But achieving the aforementioned
integration does not happen overnight. The most sage advice is to
practice diligently and consistently on all areas of basic technique,
allowing it to grow naturally and gradually over time. The undertone will
resolve itself and then you won't be able to produce it even if you *try*.

For a more specific suggestion, keep this in mind: The air column
must be under pressure prior to release of the tongue from the reed. It
must not be an explosive release, but rather a controlled (and above
all, relaxed) one. If you release an unsupported and/or unfocused air
stream upon the reed, it will literally have to "work up to speed" before
producing a tone. This could account for the undertone. Part of your problem,
in addition to insufficient air support, is very likely an overly heavy
tongue. This is common even among professionals, especially those who
endlessly bemoan their inability to articulate rapidly. The quickest
and most effective way to overcome a heavy tongue is intensive practice on
legato articulation technique. Mastery of such a technique throughout the
range of the instrument, to the point where the tongue is so light that contact
with the reed is virtually imperceptible, demands equal mastery over the
other areas: air support and embouchure development. This is why
patience and consistency are so important.

So many players are unable to tongue properly because they are unwittingly
effecting the wrong inverse relationship between tongue pressure and
articulation velocity. The tongue must become progressively lighter and
lighter as speed increases. And with that speed must come an increase in air
support -- _not_ to be confused with the volume of air being released. The
two concepts are dramatically different, so don't get them confused. The
point of this diatribe is that, in order to articulate cleanly and clearly in
the upper clarion and beyond, *without* any production noise, you must satisfy
all criteria simultaneously to a minimum degree (this does not mean they have
to be perfect...just sufficient): the air must be prepared, under abdominal
pressure, prior to release of the tongue from the reed; the air *column*,
which will be released with the release of the tongue from the reed, must
be _focused_ (by the throat and tongue), as well as "managed" by the
embouchure muscles in order to allow the reed to vibrate as freely as
possible (if you're pinching, this is another very likely cause of that
undertone); and the tongue itself must be possessed of well-developed
relaxation and lightness, such that it lifts away from the reed and
produces nothing but immediate and pure tone.

It's a process of technical growth which demands personal discipline and
consistently focused practice. Some would say my suggestion is the long
way around, but in fact, there is no substitute for diligent practice of
basic technique, and one should not endeavor to find ways "around" it.
Such a contrary philosophy will be glaringly obvious to anybody else who
hears you play, as evidenced by deficiencies of one kind or another --
doubtlessly in those areas in which "short-cuts" were taken. I hope I've
made at least a modicum of sense and that it proves to be helpful to you.

Neil

On Sat, 15 Jun 1996, Timothy Morrill wrote:

> Fred,
> I can see your point, but I'm just trying to get different
> points of view on the problem. I've found that if I hear the same
> thing several different ways it sinks in better. If you could list
> the possible reasons and some solutions it would be nice. By the
> way, I have a teacher.
> >>
>

   
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