Klarinet Archive - Posting 000834.txt from 1999/03

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] THROAT TENSION
Date: Sun, 14 Mar 1999 19:16:29 -0500

On Sun, 14 Mar 1999, Ben Stutzman wrote:
> I had throat tension problems for a while, and I think I have it solved
> now. The main problem was the concept of where I was blowing from. I
> figured this out when I was practing and low E-F passage of music.
> (Incantation & Dance) First think of how you blow on your hands when
> they are cold. This is the WRONG way to do it, the way I did it for
> years. The correct way is to think of how you blow out a candle. The
> air is pushed more from your chest instead of your throat. The easiest
> note to practice this on is a low E. When you open up you can really
> feel a difference. While practicing I would keep going back to this
> note to keep my throat loose. I hope this works for you!

Ben's description approaches how I teach the concept of warm (slow) and
cold (fast) air concepts in realizing dynamics in all registers.
Controlling the slow air is crucial for soft dynamic playing and begins
with feeling where we control air speed (in the back of the throat (or
tongue position if you like). However, air pressure as opposed to air
speed does not change - it is a constant - much like the principles of
embouchure are a constant. We manipulate air speed and air volume - but
we do not manipulate air pressure - something our body regulates as
voluntarily as breathing in and breathing out. Air pressure (support) is
not regulated via the chest or throat (as Ben suggests) - although it can
often feel that way. It is actually regulated via the diaphram and all
other surrounding muscles (there are actually different muscles that
control air IN and air OUT - and the diaphram is only one of them - an MD
could explain it better.......Stephen?

At any rate - students often wonder what the value of long tones is.
Frankly - beyond strengthening the embouchure when blowing at loud and
soft volumes, long tones really aids in memorizing what it feels like to
blow fast and slow air - and how to interchange seamlessly between
concepts. Done on a daily basis, long tones will really help flexibility
and control of pitch/tone at all volumes.
Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University

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