Klarinet Archive - Posting 000072.txt from 2002/07

From: Tom.Henson@-----.com
Subj: [kl] Metaphors and Breath Support
Date: Tue, 2 Jul 2002 11:55:32 -0400

My clarinet instructor has me working on phrasing right now and this has
brought me to a new level of understanding.

I have read with interest Tony Pay's use of metaphors as well as others in
describing things to students to help them understand better what it is he
really means.

I feel strongly that if you can understand correctly what you need to do in
your mind, then you are one step closer to teaching your physical body to do
it as well. Then you can learn the physical part of it and train your body
to remember the feeling that comes when you do it right.

My instructor used one that I felt has worked well so far for me. Regarding
phrasing, she said to think of the breath as a bow on a stringed instrument.
Your breath begins the bow movement and it should continue without any
interruption until the end of the phrase.

As I began to think in these terms, it became quite apparent to me that to
study phrasing, I needed to study breath, and the physical side of
breathing.

I realized right away that I did not have enough breath support to play a
phrase properly. It was not simply a matter of "feeling" it and then moving
your fingers along with this emotion. Playing notes and playing a phrase are
entirely two different things, and are simply worlds apart.

No, it was breath or breathing that was behind this. I can't remember which
famous teacher said "It's how you play between the notes that matters." I am
probably not quoting exactly, but this really is true. I now understand what
he was referring to.

With some discussion at length with my wife, who is a vocalist, she
explained to me how she was taught the art of breathing and just how
important this really is in any vocal or instrumental musician. It is the
foundation. I have learned a lot from her explanations and have been busy
putting this to practical use. She showed me several breathing exercises
that I have found quite useful.

Now when I practice phrasing, I am really also practicing breath support.
Beginning with a warm up routine that involves breathing exercises without
playing, then on to some long tones to help build control, then on to
scales, etc.. By the time you get to playing the scales, you are in effect
practicing phrasing as well, since you are playing a scale as a phrase.

I now find that when I move my fingers I am not simply playing notes or
intervals, but playing a phrase. It is amazing to me how much we get in the
way of something so simple. I find now that those things I once thought were
hard are so much easier when you have the proper breath support working for
you and not against you.

There is an old saying that you can't steer a parked car. You could apply
this to playing clarinet. You can't steer a musical phrase simply by moving
your fingers from point A to point B. Breath support is what takes you from
point A to point B. Breath support is the engine that propels you. The gas
pedal is the speed of the air, slow or fast, soft or loud, and your fingers
are the steering wheel.

Tom Henson

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