Klarinet Archive - Posting 000866.txt from 2002/06

From: howard klug <hklug@-----.edu>
Subj: Re: [kl] finger dexterity
Date: Mon, 24 Jun 2002 23:21:33 -0400

David:

Thank you for your thoughtful and insightful look at developing and
maintaining technique AND articulation skills. Everyone is looking for
the "quick fix" these days...gimme advanced control of technique NOW (or
next week at the latest). Multi-year time-lines aren't very appealing to
most....a sign of our instant-gratification society, perhaps...who knows?
By the time that most young players have matured enough to understand the
value of the tried-and-true methods that their teachers dragged them
through, they're past the best-learning-window of their lives...ironic,
huh?

I hung your e-mail on my studio door...

Howard

On Mon, 24 Jun 2002 HatNYC62@-----.com wrote:

>
> In a message dated 6/24/02 4:07:16 AM, klarinet-digest-help@-----.org
> writes:
>
> << I had lots of trouble with tonguing also. Have you tried double tonguing?
> There's a couple of articles that discuss this subject in the archives and
> this one helped me out: >>
>
> Let's back up.
>
> If you have trouble with tonguing, don't imagine that learning to double
> tongue will help the basic problem.
>
> Double tonguing is a wonderful thing (I don't do it myself), but it is a
> subcategory of ARTICULATION, which is an area of technique which practically
> all clarinet players have spent time struggling with.
>
> Proper single tonguing is essential for excellent playing, especially as
> double tonguing won't work above the 2nd register.
>
> Soft attacks become much easier when tongue strength and poise are mastered.
> I hear people talking about air attacks for high soft notes, but I must tell
> you honestly I use the air attack for less than 5% of the high soft notes I
> attack. It is simply less reliable than proper articulation.
>
> That said, finger dexterity will be improved by working on scales and
> arpeggios IN ALL KEYS, every day. This will also program your (possibly
> enlarging) brain to recognize patterns in music, the vast majority of which
> are based on these same scales and arpeggios.
>
> Scales and arpeggios, you ask? But I want better finger dexterity TOMMOROW!
> Well, too bad, it takes months or even years to become fluent.
>
> For me, scales are like a long term investment. I play them every day. They
> might not make me better next week, but I KNOW for a fact that I'll have more
> and better technique one year from today. And if you know my playing, you
> know that my technique is already pretty good.
>
> Incidentally, the Jeanjean VadeMecum was mentioned. It is an excellent book,
> particularly when used in conjuction with extended scale practice. The way I
> think of it, the scales build the technique. This book will help smooth it
> out.
>
> When I practice scales, I also do a thorough articulation workout. The tongue
> is a muscle and it must be developed. And its connection to the brain must be
> solidified so that it will do whatever your musical brain demands of it.
> Again, it won't happen overnight. If you have developed bad tongue habits,
> you're in for a long, uphill fight. YOU NEED A TEACHER WHO HAS GOOD
> ARTICULATION to get you through it. Make him/her demonstrate a lot. Your ear
> will help guide the tongue to its proper function.
>
> David Hattner, NYC
>
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>
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>

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