Klarinet Archive - Posting 000090.txt from 2001/07

From: Kent Krive <kkrive@-----.com>
Subj: Re: [kl] HELP!!!!
Date: Tue, 3 Jul 2001 10:14:47 -0400

Hi Jessica,

You've just been too good at avoiding one of the most common tonal
aberrations as you've developed your craft.

Making a glissando, or "smearing" developed out of the tonal pitfalls of
some beginners/intermediates which results when the tone is begun with
the back of the mouth nearly closed. This is a crutch utilized to avoid
a "thuddy" or squeaky attack, or by young (and old) players who haven't
yet developed comfort with the notion of filling the oral cavity with
pressurized air with the tongue on the reed, then releasing the tongue
without altering that shape.

An essential component of the "smear" is "tone room" shape; that is,
tongue position, oral membrane pliability, etc.

My advice would have you begin with C (written) above the staff. Next,
gradually raise the back of the tongue toward the point where it would
be if you were going to say "coo." The pitch should begin to descend and
your tone will become "yacky/wacky" (I'm not a scholar...). Gradually
returning the tongue to its normal position should cause the pitch to
return to where it started. You'll notice righ away that, if your tongue
actually reaches the point of producing the hard c consonant, the tone
will stop altogether...

Those proficient in this technique can cause the range of the smear to
be as much as an octave. Not that that would be the way to handle the
R.in B. smear... But, once you've mastered the tongue position mobility
technique, you would combine it with finger sliding from tuning C on up.
>From low G to tuning C, you have choices: Use a fairly rapid chromatic
scale (some use G diatonic, beginning chromatic on thumb F) to the
throat tone area, then begin tongue manipulation as you arrive at the
lower clarion tones. Typically, we reach the real smearing part of the
run rapidly, then spend more time on the smeared part. You'll need to
learn instinctively how much "coo" to use at any particular instant.

Incidentally, when you've mastered this kind of tongue manipulation,
you'll also be ready for your next jazz and/or Klezmer gig! :-)

Best wishes,

Kent Krive

Jessica Miller wrote:
>
> I've been hesitant and embarrassed to ask for your help until now but
> desperate times call for desperate measures...The opening of Rhapsody in
> Blue has plagued me since I was thirteen years old and lost the part at a
> music camp due to the fact that I was (and still) unable to "smear." Now a
> professional opportunity has come up for me to play this solo. I am a
> conservatory trained clarinetist who unfortunately has really never had the
> experience or opportunity to study or play any other styles of music other
> than classical. I have consulted with classical clarinetists and jazz sax
> people who can "smear" I have gotten their two cents but am still unable to
> do it. I have tried dropping my jaw, loosening my embouchure, softer reeds,
> a open mouthpiece, sliding fingers, lifting fingers, etc...The closest I've
> come is an inconsistent sort of smear from G to C (above the staff). Does
> anybody out there have any tried and true tricks to help me...or is it too
> late to teach this old dog any new tricks?
>
> Do You Yahoo!?
> Get your free @-----.com
>
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