Klarinet Archive - Posting 000923.txt from 1999/12

From: "Michael Lawrence" <belgarath10@-----.com>
Subj: Re: [kl] Tschaikovsky No. 6, 1st clarinet - Responses (as pertaining to FAQ)
Date: Tue, 28 Dec 1999 03:59:15 -0500

I nominate this message as material for the FAQ- with the author's (annhall)
permission, of course. I don't know much about.. well, anything pertaining
to the clarinet, but I would think that any tonguing exercises, etc., should
have a pleasant little section carved out for them either in the FAQ, or the
already formed sneezy (which started out as a FAQ, I am told:))... just a
suggestion, just my 0.02ยข (I really do like that expression.... hehehe)

-Michael L.

>From: klara <klahall@-----.com>
>Reply-To: klarinet@-----.org
>To: klarinet@-----.org
>Subject: Re: [kl] Tschaikovsky No. 6, 1st clarinet - Responses
>Date: Fri, 24 Dec 1999 00:44:34 EST
>
>On Thu, 23 Dec 1999 17:55:42 GMT Tony@-----.uk (Tony Pay) writes:
> >On Thu, 23 Dec 1999 12:04:50 EST, GrabnerWG@-----.com said:
> >
> >> On very quick "light" articulation passages, especially in the upper
> >> registers, I move my tongue to the right corner of the reed. This
> >> seems to help me achieve a quicker, cleaner response. What is your
> >> comment on this technique?
> >
> >I'm in favour of doing anything that works, and what you describe is one
> >way of reducing the area of contact, so it connects with the general
> >principle I was referring to: that a smaller, faster-moving object is
> >best controlled by a smaller, more precisely applied force.
> >
> >I've said this before, but I really do think that the most helpful thing
> >to do on this list is to identify and then try to make clear the general
> >principles that govern playing.
> >
> >Then further, we can do what you just did -- ie, suggest a way or ways
> >to embody one or other of these general principles, always in a
> >non-dogmatic and experimental frame of mind.
> >
> >Because people have different ways of approaching these general
> >problems.
> >
> >But it helps to understand them first.
> >
> >Tony
>
>
>
>To all the excellent information, i would like to add....
>
> finally (at age 40) i have a fast staccato tongue style that i am happy
>with. Getting this to work has involved practice routines that work both
>legato and staccato.
>First step was to refine legato--eliminate any extra sound , thuds,
>grunts or ghosts in clarion and altissimo.
> Then i practice slow motion legato; half speed or quarter tempo, then
>immediately play at/near tempo. many passages sound good with this
>because at faster tempo the interruptions are in proportion longer and
>sound more staccato.
>practice at tempo in short sections to be sure of keeping the light
>flexible motion. When this is accurate, string longer groups together,
>in various patterns.
>
>Some players get the same result by working from prepared fingering
>routine--stop note with *light* tongue, move fingers to next note,
>release reed for note to sound.
>This is not as helpful for me, but if done with light efficient tongue
>contact will lead to same result. the common ground between the two
>different approaches is the slow accurate ease and consistency.
>
>The principal involved is that a good staccato is based on a good legato.
>( This principal also applies to string instruments and voice.)
>Repeated motion tends in increase tension. Practicing slow-
>accurate-short segments, and fast-accurate-short segments with the focus
>on keeping light and flexible counteracts the tendency to tension.
>When the physical motions are light flexible(relaxed) then the
>mind/ear/concept will bring forth the desired sound.
>
>
>Expectations and attitude have an effect too...
>i got much better at repeated notes on clarinet after learning viola-- so
>easy and idiomatic on string instrument. on the other hand, i didn't
>find flats a bug-a-boo on viola because i was very comfortable from
>clarinet.
>
>annhall
>who has not played T6, but has performed 4,5, 1812 overture and
>Nutcracker ballet.
>
>
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