Klarinet Archive - Posting 001396.txt from 2000/10

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: Re: [kl] Slur across the break & thumb
Date: Sun, 29 Oct 2000 17:01:35 -0500

My immediate thoughts are that the thumb on register key, altho` important
does not cross my mind as being as important as the front of instrument. But
wait a minute - it is by George, it is. "Moving L.H. thumb with some degree
of accuracy". Herewith enclosed are my thoughts:-
During early learning, when thumb is not required to operate the reg. key,
beginners place it in a comfortable position (for themselves) with the
advice of the tutor. It might not be in a fully correct position for the
eventual upper reg. use, but at present it only has to close and open for F,
so all is well for the moment. There`s nothing to stop the tutor trying to
get thumb position right from the outset, but this is not paramount in the
order of importance, especially in the student`s mind.
Comes the time to learn the upper notes, and low and behold, it is
discovered that it is necessary to relearn
a new way to operate the thumb. If students are discovered to suffer from
double-jointedness, especially with that LH thumb, then now is the time to
advise them to change to BASS TROMBONE, (with apologies to bass
trombonists`). The LH thumb must have the discipline NOT to SLIDE upwards.
It might have to be re-positioned generally, in order for it to be in an
easier position to depress the reg. key. The way to re-position might be, to
literally move the thumb upwards, closer to the reg. key. GREAT care must be
taken in ensuring that this general re-positioning, (further up - 1mm -
2mm - a tiny bit) enables the thumb to still be able to close the WHOLE of
the F hole. Easy with large thumbs. Yet <more> thumb movement could be to
vary the angle from, say horizontal to more of an upward pointing angle.
This also re-positions the thumb nearer to the reg. key. One could try
different combinations of both movements. These general re-positionings are
preparatory to the "real" movement of depressing the reg. key at the same
time as ensuring F stays firmly shut. Now looking at the thumb in this new
position, one is ready for the next stage of movement. Start to rock the tip
of the thumb forwards. It must immediately come into contact with the reg.
key at the reg. key`s lowest point, without danger of slipping off again
accidentally. It all depends on the size of thumb, but at the reg. key`s
lowest point, (with safety) comes a greater asssurance of the bottom section
of fleshy fingerprint keeping F hole firmly shut. When the F hole leaks, it
will cause squeaks, and bad slurring. It can cause the sound to stop
altogether. As Audrey points out, all this movement has to be in complete
co-ordination with all other fingers. What a pain. (AND IT IS TOO, FOR SOME
BEGINNERS).
Speed should not be a criteria at this stage. Firm, accurate, simultaneous
placing of fingers will ensure the true slur, not speed.
Yet more difficulty arises when the thumb (and 1st finger) moves yet again
differently, to Bb throat. The contortion which is necessary this time, is
to ensure that the F & E holes are vented wholly, to produce a strong Bb,
(or as strong as possible on student instruments). Both thumb and forefinger
must bend inwards to some degree - ouch! Also not noticeable after 6 months
correct practising.
The one and ONLY exercises to connect lower and upper reg. smoothly is, yes
you`ve guessed it - scales. Easy scales F, C and G VERY slowly, thinking of
everything in my previous post. Slow is the all important message, as it
gives one the time to think what is happening to fingers, It also lets you
hear your note as an individual note, NOT as a series of skimmed over tones
hoping that it will come right. CONTINUOUS breathing over the connecting
notes is what the aim should be. Yes, it can all get a bit boring. You have
to try for it not to be. Put the clarinet down. Call it a rude word. Have a
cup of tea, then pick the clarinet up again and continue.This is what will
bring the smooth slur into your musical vocabulary.
I don`t know if this has duplicated what other areas of sneezy seems to have
covered, comprehensively from what I read of Mark`s post. If I have then I
apologise for repeating what already is available.
I`ve had a great week off teaching due to 1/2 term break, and what do I do -
I write all this!?! - - - - -
Best,
Tony W.

From: Audrey Travis <vsofan@-----.com>
Subject: Re: [kl] Slur across the break

> Tony
> I would suggest, also, that great attention be paid to the register key.
I
> know that my own problems in smouoth slurring from low to high are a
reflection
> of how quickly (or not ) I manage to press that key, ie. coordination of
thumb
> and the remainder of my fingers. Could you suggest any more exercises
that
> might address this? Also, please describe the correct placement of the L
thumb
> so that one moves seamlessly from low to high registers?
>
> Thanks!
>
> Audrey
>
> Tony Wakefield wrote:
>
> > 1) Practising A to B would be a better logical first step I would say.
But
> > you possibly have your reasons Bill.
> > Think of the B as low E. And think of the C as low F. That`s the first
> > step - thinking thru` this. Then continue your preliminary exercises -
> > slurring up from low E to B, and from low F to C. Think of correct, firm
> > placing of fingers. I have a 3 rule message for English kids just
starting
> > the upper notes for the first time. Altho` I know you`re past THAT
stage,
> > the smooth slurring takes a little longer to execute. OK so far, I`m
sure
> > you are. Anyway, those 3 rules for B and C are quite basic and
preparatory.
> > a) Fingers down firmly. b) breath lots of warm air thru`. c) Very
slightly
> > relax the pressure with bottom lip. You won`t be conscious of any of
these 3
> > rules as you progress into more experienced practise, but it helps the
> > beginner.
> > 2) Practise the scale of C major 1 octave VERY slowly. Mini long notes,
so
> > can think how to place your fingers. As you move to G, your NEXT move
will
> > be to A placing ALL your RH fingers down on the C (low F) to prepare
well in
> > advance for the forthcoming note. For B, you can even put LH pinky on B
(low
> > E). This leaves your left hand ready for the move to B or C with the
> > remaining minimum amount of fingers left on your left hand. Are you
still
> > with me? This left hand with 1st finger on the A key, with it`s pinky on
B
> > will feel slightly uncomfortable and distorted. YOU HAVE TO GET USED TO
> > THIS.
> > 3) The third way, as Clinton & Blair would have it - Instead of slurring
A
> > to C, (B) slur from C to A always thinking of careful and closely
placing
> > fingers. The correct ROLL of the 1st finger is paramount also in
efficient
> > finger movement. (Don`t be tempted to move it way up the key too far in
your
> > attempt to be "efficient"). Think of 2) in reverse order. When 1st
finger
> > rolls down to A, LEAVE DOWN ALL RH FINGERS (AND LEFT PINKY FOR B ALSO).
> > Think of the 3 rules always.
> > 4) continue slurring C to A. Stop and think. C to A. Stop and think. C
to A,
> > C to A, C to A repeat 100 times.
> > Then try slurring CACACACACA. and what do you have - but A to C. GENIUS.
> > ACACAC. Repeat 100 times.
> > God what a boring post!
> > Best,
> > Tony W.

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