Klarinet Archive - Posting 000028.txt from 2004/06

From: "Stephen C. Moore" <stmoore@-----.edu>
Subj: Re: [kl] glissando help
Date: Wed, 2 Jun 2004 15:40:15 -0400


I have also made an interesting flexibility game kind of doing this process in
reverse. Start on the G above the staff, now finger the G# and try to keep
the note on G, then move to the A, still holding the G. I will keep doing
this until I can stretch no further. Then I will start on a lower or higher
note and repeat the same process.

Once you get good at this, you can try for fingering some random high note and
producing that same G. It may not be the prettiest sounding G on the planet
but it will work your ears and your flexibility.

On Wednesday 02 June 2004 13:33, Josh Gardner wrote:
> A nice little exercise that I have used in the past involves playing a note
> and trying to voice the pitch down different intervals. High C is a good
> note to begin this exercise. Start with a half step. Play a B natural to
> get the pitch in your head and then try to voice the pitch down using not
> the embouchure but the position of the tongue. Next, go down a whole step
> and so on. This skill will help your ability to grossly alter the tongue
> position in order to blur notes together when glissing.
>
> It is the very same concept as whistling. The pitch is altered by the
> change in air speed created by the altered positions of the tongue. In my
> experience, a gliss is best produced when the tongue is positioned too low
> for the fingered pitch and the fingers either play a chromatic scale or
> they gradually slide off. The tongue is raised at the very end of the
> gliss to raise the pitch to the desired note.
>
> As Bryan said, it is much more difficult to type an explanation rather than
> demonstrate it.
>
> Josh Gardner
>
>
>
> ---------------------------------------------------------------------
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--
Stephen C. Moore / stmoore@-----.edu/~stmoore
Technical Assistant, CS Department, New Mexico State University

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