Klarinet Archive - Posting 000510.txt from 2003/02

From: "Forest E. Aten Jr." <forestaten@-----.com>
Subj: Re: [kl] Embouchure (again!)
Date: Tue, 18 Feb 2003 08:59:33 -0500

Ian,

You can quickly find out if voicing is the issue.

Have your student sing a simple vocalise.
In the order below... having the tongue position move from low back in the
throat to high and forward.

o........... ah........... a........... ee.........

Have the student move the syllables slowly so that they feel the tongue move
forward.
They must keep the air going....no breaks between the syllables.
Ask the student to sing these syllables on a single easy note, moving ONLY
the tongue.
NO movement in the face (lips even). Work on it yourself so that you can
demonstrate the vocalise.

Now apply this to the clarinet. Use a note that the student can play with
ease.
If the student goes to extremes in either direction, (while playing)....the
result will not be so great.
With a little practice every player can find the perfect focal point. (which
in my experience leans toward the ee. (but) If you go too far toward the ee,
[as already noted in another post] your student will over blow the 12th)

O's and ah's close the throat and restrict airflow....
a's and ee's open the throat as the tongue moves forward...and also provides
focus at the terminal end of the human "pipes".... right before the air
enters the mouthpiece.

This concept is often difficult at first. The student can't "see" what's
going on inside the mouth and throat. Other issues can make this even more
complex.....articulation using the tongue being one. Players can often
produce a wonderful and "focused" sound on a sustained note, only to fail as
soon as they move the tongue incorrectly when articulating.

While all of this is good for us to know....try to keep it simple for your
beginner.
The student will get the hang of it with practice.

There are other more advanced exercises that are related to the "voicing"
issue. Studies that help players develop predictable scoops and glisses in
jazz/pop performance....and others that help players develop quick, accurate
and flexible movement in the altissimo register (without scoops).

Best of luck,

Forest Aten

----- Original Message -----
From: "Holloways" <holloways@-----.za>
Subject: [kl] Embouchure (again!)

> Well, thanks to all the experts who gave me their valued opinions on my
> problem. I think some may work, but here are my comments in reply.
> 1) It's not the setup, though I'll certainly try another mouthpiece and
> reed. When you're an accomplished player yourself I guess it's easy to
make
> any student setup work! However, my son played on the same instrument as a
> beginner and blew the loose paint off the wall.....
> 2) Instrument is working 100%.
> 3) Seems to be some confusion (thanks to me) on which 'E' I was talking
> about. It's first line on the staff 'E', not low 'E'. I have on occasion,
> though rarely, taken a student down to low 'E' on her second lesson, but
> this one is still trying to get a note of any sort to work. Sorry Karl,
I've
> checked her one finger and one thumb! It's certainly embouchure!
> 4) Not biting too hard. Tried that. Lots of air coming through, but if she
> blows hard she simply plays high 'B'.
> 5) I think Forest has the best ideas. Overbite should be an advantage,
> you're right, that's why I'm baffled. I think 'voicing' as you described
it,
> could be the problem.
>
> So, I'll try again next week. She'll probably walk in and play the first
> movement of the Mozart..............!
>
> Thanks again to all.
>
> Ian H.
>
>
> ---------------------------------------------------------------------
>
>

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