Klarinet Archive - Posting 001393.txt from 1998/07

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] Lutoslawski Dance Preludes
Date: Fri, 31 Jul 1998 09:17:37 -0400

On Fri, 31 Jul 1998 Maestro645@-----.com wrote:
> In a message dated 7/30/98 8:55:12 PM Pacific Daylight Time,
> rgarrett@-----.edu writes:
> << Staccato tonguing.........go back to Langenus etudes and work out hard and
> light staccato......it will apply. >>
>
> OK, this is a quite a topic. I'd like to explain to one of my students the
> difference between staccatos. I'm at a loss for words. I want to say "x-ray
> me while I'm playing," but we all know that can't happen.
> So, how would you describe your technique for light and hard staccatos to your
> students?

Let me first say that for every technique a person tries to describe, not
only will many people have other ways to describe it, they may actually
disagree with the concept/pedagogical approach. Sometimes, people agree,
but the descriptions are so different that they think they disagree....so,
with that in mind, I'll be as brief as possible.

Staccato simply means to separate - right? Ok, pedagogically speaking, a
technique for tonguing in such a way as to separate simply means putting
the tongue on the reed and taking it off........thus stopping the
vibration of the reed for a split second.

There will be many people who teach tip to tip tonguing, people who teach
anchor tonguing, people who teach double tonguing....etc. My approach is
tip to tip - but others may have other opinions.

Blow an open G (without using the tongue to start the sound)....monitor
air and embouchure to make sure they don't change......lightly place the
tip of the tongue on the tip of the reed while the air is still going.
Stop the vibration of the reed completely.....by pressing the reed against
the tip of the mouthpiece (those of you who are all prepared to reply at
this point and say....NO...DON'T DO IT please be patient). Keep the air
going. Release the tongue and let the reed spring back to life....the air
never stopped, and the embouchure never changed. Ok.....this is what John
Mohler used to call an "interruption"........and he would have his
students practice them until they could do them with a metronome at
varying speeds and tempos. Once it is mastered, increase air pressure to
see how immediately the reed can spring away. This is what I call "hard"
or "stop" tonguing.

"light" staccato is simply the same thing with less tongue
pressure........do the same exercise but when you place the tip of the
tongue on the tip of the reed, let the reed vibrate slightly - in other
words, do not press the tip back against the mouthpiece....just try to
controll the tip of the reed........as you blow air, experiment with how
much or how little vibration you allow......and do this with a metronome
as well. You will be developing your control of the tonue and air, thus
allowing for "light" or "hard" staccato.....and their are times when you
will need both. You will find you have a tendency to bite or clamp down
on the reed (squeeze the reed) with the jaw or embouchure.......or to let
the chin/face loosen or bunch up.....try to avoid this! Always monitor
the air.

Speed will come after muscles and control are developed by the above
techniuque (and keep in mind, there are lots more than just that one!).
Speed studies come later.

Hope this clarifies for you what I meant, and that you are not asleep yet!

Roger Garrett
IWU

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