Klarinet Archive - Posting 001264.txt from 2000/10

From: Richard Bush <rbushidioglot@-----.com>
Subj: Re: [kl] No Subject
Date: Thu, 26 Oct 2000 16:31:58 -0400

Many beginning books, particularly band method books, introduce the beginning
clarinet player to throat tone A prematurely, long before the embouchure is
ready for it. Also, most student model clarinets have the combined spring
tensions of throat tone G# and A set up way too heavily. Combine the two factors
and the player ends up, both crunches the embouchure to get a grip, and
in many
cases, resorting to supporting the instrument by placing the thumb on
the body
below the thumb hole. (In the mean time, the right hand is floundering because
not enough, if any, of the notes requiring fingers of the right hand
have been
introduced.)

Also, little attention is given to the fact that the A key needs to be
opened with the side of the first finger by rolling onto the A key from
the top ring key. Students need to know what is down the line, that they
will need to go DIRECTLY from the ring key onto the A key, and the other
way around.

A great deal of attention and all preparatory material should be
focussed and directed toward that day when the student will need to
negotiate to and from the second register "GOING OVER THE REGISTER BREAK."

A4ACHESON@-----.com wrote:

> << Anne Lenoir <AnneLenoir@-----.net> wrote:
>
> > Unfortunately, she has a doubled-up chin and doesn't seem to have the
> > ability to play and point her chin at the same time. Any suggestions?
> >>
>
> I have found this usually to be the result of two factors,
>
> 1. Students trying too soon to play in tune and
> 2. Trying too soon to play with a mature sound, perhaps in imitation of their
> tutor's.
>
> This results in the student 'short-cutting' embouchure development, by biting
> with the jaw and pushing up with the chin muscle. This perhaps results in 'in
> tune' playing and 'refined' tone but also a very poor legato, a small dynamic
> range, and little control of intonation. They also require harder and harder
> reeds to combat the bite.
>
> The student needs to appreciate these points and be helped in her situation.
> She must appreciate that the development of tone quality is a slow business.
> She must be removed, for a time at least, from a situation where keeping up
> the pitch is a problem, or equipped with a shorter, perhaps adjustable,
> barrel to assist. I also insist that my students practise long tones in the
> low register during the lesson, using a very soft reed, soft enough to not
> allow any bite. In this way the feel of a 'proper' embouchure may, we hope,
> develop.
>
> I don't like to write any more because there is almost nothing one can write
> that cannot be mis-interpreted and I find most tutor books are very
> unclear/ambiguous on the subject of embouchure.
> The exception to this is Keith Stein's wonderful book 'The Art of Clarinet
> Playing' here he is insistent on the flat chin. [Practising, even only
> temporarily, double lip embouchure, may give your student the proper 'feel',
> but you must be sure the lip muscles are not 'trapped' behind the cutting
> edge of the teeth, only the flesh should cover the teeth.]
> I do agree totally about the importance of the 'pointed' chin but wonder
> where this tradition started. It was impressed on me by a brass tutor who
> pointed out the counter productiveness of trying to close up with the chin
> muscle, the hole through which you are trying to blow.
> On the other hand, we are faced with the top class players who do not 'point'
> the chin, but thankfully there are few of them, and, like you, generally I do
> not like their sound.
> AA

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