Klarinet Archive - Posting 000235.txt from 2002/06

From: Tom.Henson@-----.com
Subj: RE: [kl] Re: Caruso Long Tones
Date: Fri, 7 Jun 2002 13:19:18 -0400

Dave,

I wish I could have said it that well.

I like how you used the word "independence" from everything else going on so
that you can focus on one thing.

That's exactly what I am trying to do, build a foundation which will become
automatic and natural as you progress.

I don't see long tones as a goal, but only a step.

I remember the example that some have used of turning around the mouthpiece
and having the teacher work the fingers while the student just blows. I
think this is along the same line. To the student, he/she is simply playing
one long note and can focus on that. As expected, the improvement in sound
and evenness of scale is immediately apparent to the student. The goal, of
course, is to apply this with the fingers moving.

Once your muscles have learned how to stay put, then you are ready for the
next step of adding the fingers.

I don't actually play 20 minutes of long tones. Probably about 7-10 minutes
with breaks in between to rest my mouth.

It is boring, and I can see young students getting too much of this would
become disinterested in playing. It does take a lot of concentration to do
though.

While I was researching "Caruso Long Tones" on google, I noticed that not
all teachers agree with this approach as David and James have pointed out. I
asked this question hoping that I would get both views discussed. Bottom
line is, what can I do to strengthen my embouchure if I can only practice 1
to 1 1/2 hours a day.

I told my teacher that I feel like a beginner for having to do this as I
should have learned it already. But muscles don't just get back into shape
overnight. It takes practice and time.

I also realized, that you can not correct what you can not see. I began
using a mirror while I practiced and it was quite revealing as to how out of
shape (strength wise, not physical shape) my embouchure really is and how
quickly the chin starts to creep up. This may be the best lesson of all so
far.

It's frustrating to me that I can't practice longer correctly. I only have
one time a day I can practice during the week and I try to play at least 1
hour a day with many breaks to rest my mouth.

My teacher simply suggested that this method would speed up the process of
strengthen my embouchure.

Anyone else have a method they have used?

Tom Henson

Dave Kumpf wrote << What is useful to me about long tones is that it allows
me to
pursue some independent and regular inquiry and experimentation into
what's going on with my embouchure, tongue position, and breathing, with
a focus gained by independence from moving the fingers.

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