Klarinet Archive - Posting 000546.txt from 1999/05

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] Tone
Date: Thu, 13 May 1999 13:37:52 -0400

On Wed, 12 May 1999 JohnnyWalt@-----.com wrote:
> Having been out of an intense practice regimen for a while, I am
> inquiring on the best possible practice steps to achieve a truly dark and
> rich tone (isn't that every clarinetist's goal?) At this point in my
> playing, I don't have a lot of centrality or purity in my tone; it sounds
> overly-bright or "high strung," for lack of a better word. What are some
> techniques that all of you have found to be successful in achieving the
> focused and pure sound that I am looking for? The more details the better -
> i.e. reeds, embouchre, ligature, amount of practice, technique books -
> whatever you want to comment on! Thanks!

Ahhh......the old "I'm searching for that Dark Tone" trick!

Matt - undoubtedly you will spark quite a conversation/thread with this
request - maybe even Dan will jump back into the foray regarding the use
of one of his favorite adjectives.

Assuming that I kind of understand what you are after - a few suggestions
might help. If not - feel free to print the email and then burn it after
soaking it in gasoline and covering it with feathers.

The search for a focused, resonant, flexible tone that has "dark"
qualities (eg - lacks edge and high partials that are overly noticeable)
will succeed depending on the following:

1. The correct mouthpiece and barrel set-up
2. Balanced reeds with thicker heart and good cane. The strength
is completely dependent upon the mouthpiece.
3. Correct embouchure approach (round approach)
4. Correct use of air (this one is tough to describe)
a. Lots of it
b. Constant air pressure (support)
c. Non-constrictive use of air - get it to the reed
d. The ability to change air speeds seamlessly and at will
e. An awareness of how to use the upper lip and corners of
the embouchure to adjust and resonate the tone on each note
5. Manipulation of the back of the tongue for different registers.
6. Willingness to practice very slowly, listening constantly to the
sound on every single note.
a. monitor embouchure during technical practice
b. monitor sound during technical practice
c. never accept anything but your best sound

All said and done, you should be listening to players you want to sound
like as well as attending as many masterclasses as possible and watch the
performers you admire. Imitate what they do - in terms of the approach to
the instrument (embouchure, face, air use, etc.) and the flexibility they
achieve between registers. Having that sound in your ear is critical to
imitating it.
Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University

-------------------------------------------------------------------------
Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
Subscribe to the Digest: klarinet-digest-subscribe@-----.org
Additional commands: klarinet-help@-----.org
Other problems: klarinet-owner@-----.org