Klarinet Archive - Posting 000481.txt from 2000/02

From: klar-ANN-ette H Satterfield <klarann@-----.com>
Subj: Re: [kl] daily playing
Date: Thu, 10 Feb 2000 20:40:59 -0500

i have been waiting to join in this interesting discussion of many good
ideas and angles. here is the way i changed my technique from the
"clutch and claw" to fast and fluid--and reliable.

from Nik's description, the first things i would check in person are :
physical barrier of tension AND mental barrier of confusion
(overwhelm-ment).

---------solutions
1.for tension
the flexible motion miming (exaggerated in size); floating, stroking,
dancing fingers.

2.for confusion;
identifing the notes and intervals and pitches. to be able to accurately
hear (and sing) the passage.

====SING====
. Clap pulse. Sing or say note names in rhythm, can be slow
motion. {can be a measure or even just one beat at a time
)Singing interval names with accurate pitches is most intense and
beneficial, note names alone are helpful. Use short interval names to
stay in
rhythm: Ho@-----. For
repeated
notes interval name is "Same". Can be very slow; one line, measure, or
beat at a
time. Aim for steady speed and accuracy. If section is tangled or out
of rhythm,
work in smaller units or slower pulse. Practice at tempo in small units.
====MIME====
. Sing or say again, this time with articulation .
Say Ta, La, or Da, whatever suits the music, for tongued notes; use Ah
for slurs.
Mime finger motions while singing. Use swingy, springy, light, dancing
movements.
Imagine stroking a sponge clarinet. The thumb joints are the key that
affects whole
hand. EXAGGERATE FLUID MOTIONS with correct finger combinations. (Don't
play realistically, use imagination for freedom). The flexibility
combined with clear
aural imagery developed thru this type of practice will be more
accurate than
physical training alone.
====PLAY====
short groups, pause. Check for flexibility in neck and shoulders,
wrists and
thumbs. (Can you move those joints while playing without affecting sound
or
timing?) NEVER REPEAT ANY PASSAGE MORE THAN 4 TIMES,
concentration fades, tension slips in.

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
SAMPLE PRACTICE SESSION.

(Tricky scale passage from Barber of Seville overture.) eighth note
triplets in 2/2 time.

CLAP & NAME
in slow motion at steady speed. (Ho=whole, ha=half)

"G,same,G,same,G,same,G,ha,#F,ho,E,same,E,ho,D,ho,C,same,
C,ha,B,ho,A,same,A,ho,G,ha,#F,ha,G."

CLAP & ARTICULATE

"Ta,ta,ta,Ta,ah,ta,Ta,ah,ta,Ta,ah,ta,Ta,ah,ta,Taa"

NAME & MINE
Exaggerate connection and separation to reinforce articulation. If
accurate add speed in multiples or practice longer groups. (Can drop
sharp and
flat names to keep rhythmic flow once intervals are clearly established.)
"G ,g ,g ,Gee,F ,E , Eee,D ,C ,Cee,B ,A ,
Aaa,G ,F ,Gee."
or
"G ,G ,G , Gee,F ,E ,Eee,D ,C , Cee,B ,A
,Aaa,G ,F ,Gee."
(can use other groupings.)

After accurate note names at slow tempo, if tempo too fast for naming
every note,
name first note of each group, but sing/think all pitches.
"G,(G,G) G,(F,E), E,(D,C),C,(B,A),A,(G,F),G."

PLAY
as sung. String players get to sing while practicing, wind players must
*think* the note names while playing. Play short groups, pause to check
for
flexible joints, go on in rhythm. Cycle back through sing/clap
sing/mime. Aim is
accuracy the first time! DO NOT REPEAT IF ACCURATE--Trust yourself and
the
system. If not effective, SLOW or SHORTEN passage until accurate.

...................in review......................

EFFECTIVE PRACTICE
==============================================================
* Practice SHORT sections, ACCURATELY.

*Use cycle of: 1.sing/clap, 2.sing/mime, 3.play.

* Can be one measure or one beat at a time. Stop *before* making
mistakes, pause & check for flexibility, focus and go on. A comfortable
steady speed in note naming indicates sureness. One slow ac-cur-ate
prac-tice is better than 10 times fasterrorscrablemess or a confus eds

peed brainoffsla m.
*
Add speed in multiples, starting from s l o w m o t i o n.
==============================================================

gee, this is hard to accomplish in words only. demonstration is MUCH
easier.

annhall

~Ann H Satterfield~
Principal Clarinet Imperial Sym.Orch. Lakeland, Florida
Instrumental Assistant at PCC.

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