Klarinet Archive - Posting 000280.txt from 1998/04

From: Jimmy Covelli <jcovelli@-----.net>
Subj: Re: .....an actual clarinet comment: legato technique
Date: Tue, 7 Apr 1998 00:00:45 -0400

Hi Gary,

Below are a few comments on your question.

> A friend of mine ... said I needed to work on ... legato fingering. He
> actually advocated sliding fingers more so than lifting them up and down.

The sliding fingers approach can be good in slower passages, but when it
comes to playing rapidly, you're more likely to play sloppy using this this
technique. And, as you mention later, this method can lead to unnecessary
tension in your hands.

> I know this is done is certain cases, such as venting the F# tone hole for
> altissimo notes (index finger of left hand)...

The half-hole technique (which is what I believe you're referring to) is very
effective in slurring to the altissimo register and/or attacking at a soft
dynamic. Also, this method seems to take some of the brightness off of the
altissimo notes. Again, this is a much more effective technique in slower
passages.

> I think the problem is more addressable by working on my finger height and
> overall level of tension in my hands.

I agree with you on this point. The finger height most definitely can lead to
popping sounds if too high off the keys (in rapid passages), and it is
obvious that the closer your fingers are to the keys, the less they have to
travel, and the less they slap the keys. Finger tension as well plays a role
in popping, especially in slower passages.

> Comments?

I think this problem can be resolved by a very slow and controlled practice
technique: My college professor had me imagine my fingers falling (not
pushing) through molasses as they approached the keys. It is almost like
moving in slow motion. In practice settings, as my finger/fingers landed on
the key or tone hole, the tone would almost inaudibly change to the next
(almost a glissando feel). He had me use the same approach as my finger left
the key. Practicing this throughout the range of the clarinet really helped
my legato playing. It's good to practice this in half and whole steps, as
well as larger intervals. This technique is very tedious, and it is important
to stay relaxed as you do it. This works very well for slow legato, and
gradually increasing the tempo will lead to a very effective legato in rapid
passages.

I hope this helps.

Jimmy Covelli