Klarinet Archive - Posting 000331.txt from 1999/10

From: Richard Bush <rbushidioglot@-----.net>
Subj: [kl] Tonguing
Date: Mon, 11 Oct 1999 14:30:17 -0400

From:
1:09 PM
Subject: Re: [kl] tonguing To: klarinet@-----.org

Please allow me to throw my thoughts into this most interesting
discussion.

Tonguing is basically a mechanical means of controlling both the exact
time
a player chooses to start notes and how, dynamically, they sound at the
outset. Tonguing can also be a mechanical technique to stop notes or
create
space between notes.

Many young players of wind instruments are under the false impression
that
the tonguing process activates the reed or the lips; that it, so to
speak,
kick the reed into gear, stimulates, starts or causes the reed or lips
to
vibrate. This is simply not true. The act of touching a reed (single or
double), flicking the reed, whacking the reed or bludgeoning the reed
will
do nothing by itself to produce sound without introducing the one
essential
ingredient common to all wind instruments....SUPPLYING THE RIGHT AMOUNT
OF
AIR.

Before addressing any tonguing problems or even introducing tonguing as
a
way to start tones, all of the other factors of tone production need to
be
addressed. Many tonguing problems are not really tonguing problems but
are
tone production problems. Often, tone production problems will cause the

player to resort adopt poor or inaccurate tonguing techniques.

Some tone production issues are mechanical and deal with the equipment
itself. The instrument must be efficient and relatively free of leaks.
It
should also be of good acoustical design. The mouthpiece needs to be
efficient and work well. The mouthpiece must be an appropriate match to
the
instrument. The reed should be responsive (balanced) and be a strength
appropriate for the mouthpiece facing schedule, the player and his skill

level, his needs in varying acoustical environments and the type and
size of
the ensemble with which he is working. The combination of mouthpiece and

reed also needs to be a balance that is appropriate and beneficial to
the
style of music being performed.

The player should have, or be working toward, similar goals of
efficiency
with his embouchure, throat and back of tongue voicing. The word
"efficiency" cannot be overemphasized. Getting the biggest bang for the
buck, or gaining the greatest control of tone and dynamic contrasts with
the
least amount of effort is the name of the game. (This also applies to
efficiency of finger movements; to economize, to reduce or pare down
excessive finger or hand movements to the bare essentials.)

The most important element is, and always will be, to supply an
adequate,
unrestricted and uninfluenced supply of air. The air supply should not
be
tied to finger movements or interval jumps as fingers open or close.
Reducing variables by making a distinction between finger changes and
air will then allow the player to determine what "slight" modifications
might be needed.

All to often, the player foresees a problem, overcompensates, and then
has fulfilled that prophecy that the it just wasn't going to work. Such
self fulfilling prophecies paint oneself into a corner.

---------------------------------------------------------------------
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