Klarinet Archive - Posting 001248.txt from 1997/10

From: Janet McNaught <mcnaught@-----.com>
Subj: Re: klarinet-digest V1 #362
Date: Mon, 27 Oct 1997 14:07:43 -0500

At 08:25 AM 10/27/97 -0500, you wrote:
>
>In a message dated 10/27/97 12:59:05 AM, you wrote:
>
><<I don't seem to have a lot of problems with losing my embouchure
>if I don't practice for a while. I like doing the long tones
>because it gets me breathing properly. Nice and deep, rather
>than shallow. The pattern I use (thanks to a Clarinet coach at
>a music camp one year), helps get going over the break working
>smoothly, without choking the air off in the back of your
>throat.>>
>
>Here, finally is a specific technical benefit someone has derived from long
>tones.

I find similar benefits from long tones. I returned to clarinet playing
after too many years away (about 25). I am now taking lessons, and my
teacher is adamant about the benefits of long tones.

Most importantly, they reveal fundamental weaknesses in technique -
breathing and support and embouchure especially. So, although the ability
to play long tones does not automatically produce facility with intervals
and rapid passages, the lack of ability to play them well certainly hinders
other aspects of playing. The fundamental weaknesses in my technique,
slowly corrected through daily warm up on long tones has contributed to an
improvement in the quality of my tone, and ability to articulate clearly and
with much less effort than previously.

There are a lot of things to think about in learning clarinet playing, and
until these are automatic (firmly entrenched in muscle memory) I find it
helpful to begin with simple tools that exercise elements of playing in
isolation. (IE long tones for breathing and embouchure, without being
confused by adding fingering and other mechanisms).

I find that a warm up starting with long tones "sets" the instrument - it is
an opportunity for me to focus and remember basic breathing and embouchure
without being distracted by fingering, voicing etc. It works as both mental
and physical preparation, and muscle memory - and then allows me to build on
that foundation in practice to improve much more quickly in other area.

I don't think that anyone advocates long tones to the exclusion of other
excercises. My minimum daily practive is long tones, then intervals (which
my teacher stresses as of equal importanct), then voicing, then a dose of
Baermann. If I have time, that is followed by studies.

As personal and anecdotal evidence (not proof), I have favourite challenges
- pieces that I would like to be able to play well some day. Every few
weeks I take them out again, and I am pleased with the improrement in my
ability to play these pieces. I attribute this to the practice regimen.

I believe that long tones are very useful in student work. My teacher uses
the same warm up in his own playing. It would be interesting to hear from
professionals who find specific benefits as well.

Janet.