Klarinet Archive - Posting 000773.txt from 1999/05

From: Richard Bush <rbushidioglot@-----.net>
Subj: Re: [kl] Tonguing---Part One
Date: Sun, 16 May 1999 18:08:19 -0400

Dave H.

I'm not responding to you specifically, just adding my two cents to this
thread. I believe I've probably already trashed the beginning of this thread
and now you're at the top of what continues to trickle in, so here goes.

I realize I'm in some very sophisticated company and would like to qualify
what comes below by saying that my remarks are intended for the younger
students who might be having tonguing problems.

Many single reed players have the impression that tonguing starts the sound,
or actually activates or kick starts it into a vibrating mode. If the sound
does not start WHEN the player wishes it to or if it doesn't start THE WAY the player
wishes it to, then something must be wrong with the tonguing technique.

Tonguing is but the last step of several in the tone production process.
Examining all aspects of producing a tone must first be examined before giving
much specific attention to the act of tonguing.

There are five steps to starting a tone:

1) Take a breath.
2) Set the embouchure.
3) Place the tip of the tongue on the reed. (More detailed info on that later.)
4) Blow

and the final step,

5) Release the tongue.

All aspects come into play BEFORE that last step of releasing the tongue.

Improper breath support (the lack there of) causes tonguing or articulation
problems for many. The clarinet or sax (or even double reeds for that matter)
must be supplied with an adequate air supply. Cars run on gas, steam
locomotives on steam and clarinets run on air---lots of it!

If the initial supply of air is not controlled well or if it is an
unpredictable and variable thing, then the reed will only respond when the
air, embouchure and reed strength all fall within certain parameters.

Often, the young player will fail to build up air pressure before releasing
the tongue, gradually supplying the air until the reed is finally activated.
Also, some players attempt to blow and tongue at the same time. STEP 4,
BLOWING must be in place before releasing the tongue. It is somewhat like
having the car engine running, the manual transmission in low, with only the
release of the clutch yet required to get the car rolling down the road.

Having the embouchure SET is also very important. Sometimes, this is left to
the last moment and is still in the process of being formed or tightened when
it is
time for the tone to begin.

A second problem often related to tonguing is allowing jaw movement or chewing
to be a part of the tonguing process. If the embouchure is in a state of flux
and the pressure against the reed is changing while the tongue leaves the
reed, there will be a scooping or distortion at the beginning of the tone. A
second possibility might be that the reed, simply, will not respond until the
pressure being applied to it and the air being applied to it balance out
against its respective strength, a bit of a misfire or a delayed response.

Other equipment factors also effect initial response. The mouthpiece can be
anywhere from very resistant to very free blowing. How the mouthpiece responds
is, of course, something that the player learns from experience. The
instrument will respond poorly if it is leaking. It might respond poorly for
other reasons, as well. But probably the most important piece of equipment is
the reed. If the reed is unresponsive, so too will
be the beginning or starting point of every note played.

I realize I've gone on to some length here, realizing there are several other
major points that also need to be part of this discussion. Some of these are:
how the tongue moves, where it can touch the reed, how it is shaped, how to
coordinate tongue and fingers (and as I continue, I'm sure I'll think of
more), but I will cut it off here for now while I collect the rest of my thoughts.

To review: Effective tonguing is the final step taken in a string of events
that mostly have to do with good tone production. Properly setting the air
supply before releasing the tongue, and having the embouchure set and immobile
are a must. The quality of equipment, the mouthpiece, the instrument and,
especially, the reed have a huge bearing on how easily or how hard it might be
to begin a tone with control and have it speak exactly as one wishes it to sound.

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