Klarinet Archive - Posting 000281.txt from 2004/06

From: RichChPlay@-----.com
Subj: Re: [kl] Crossing the break - guide/exercises/logic
Date: Thu, 17 Jun 2004 22:10:36 -0400

on 6/16/04 8:47 AM, Umar Goldeli wrote:

>I have recently embarked upon my "clarinet journey" and have just met the
>concept of "crossing the break" and the joys of finger contorsion.
>
One purely arbitrary thing that I do with students is to avoid the
mention of the dreaded "CROSSING THE BREAK" (said in ominous horror-movie
voice!) ;-)

I speak of changing registers.

>So considering that it will likely be a while and quite a pain - I'd like
>a "proper" method and set of exercises to follow for this.. are there any
>such exercises to get the brain and fingers around the concepts of
>prefingering right hand and pinkies etc etc? I've been looking around and
>can't find anything which explains the logic and methodology as well as
>exercises..

For most of my students, I find two problems.

The first is finger motion and position. For me, the easiest way to teach
this is to start from the upper register, i.e. 3rd line B and 3rd space
C, and work downward. The easiest for most of my students is to move from
3rd line B down to 2nd space A. Once this is smooth, then I start having
them move down and back up in slow, easy quarter notes. Starting from B
increases the likelihood that a student will at least be close to an
optimum hand position for this finger sequence. Then I proceed to 3rd
space C->A, C->G, B->G - you get the idea - all the intervals you can
discover, gradually covering wider intervals and more challenging note
and finger combinations. Eb->Bb is a particularly challenging example.

The second problem is an air problem. I'm not sure, based on what I've
read here about vibrating air columns in playing the clarinet, that my
solution is in fact scientifically accurate. But here goes. Many students
whose fingers are working properly for this register change still have
difficulties. The analogy I present is that the air support needs to be
the same for the 2nd space A as it is for the 3rd line B ("filling the
clarinet with air"). It's too easy to play the throat notes with
inadequate air support and still produce a decent tone. But in slurring
to the next register, there's a hiccup while the support adjusts to the
new longer tube of the B or C. My solution is the same as #1 - start in
the upper register and slur down, moving the fingers but keeping the air
steady. Then, slur down and back. Continue as above.

on 6/16/04 11:38 AM, Ormondtoby Montoya wrote:

>The idea, of course, is to battle against "fly away" fingers. Raising
>fingers dramatically after a note may look snazzy and may feel
>expressive, but it does nothing for your technique. When a finger is
>idle, it should sit poised above the primary hole/key which it serves.
>
>Watching your fingers in front of a mirror is a primary exercise for
>this.

In my teaching, I find I have to be careful with this kind of statement,
because the more diligent students will take the "keep the fingers right
over the keys" statement a little too literally, and cause themselves a
lot of extra finger tension. When I studied with Leon Russianoff, he had
a finger exercise that involved what he described as "backswing". The
idea is that every finger action has an appropriate range of motion that
keeps the motion smooth. Try playing slow quarter notes with your fingers
very close to the keys. When I do this my fingers get tight. If I allow
them to rise and fall a little more (within reason), the motion become
smoother, and the intervals are less bumpy (always assuming that the
music requires this, of course). At faster tempi, the finger motion stays
a little closer to the keys.

on 6/16/04 6:23 PM, Umar Goldeli wrote:

>Out of curiosity however - when playing a piece for the *first* time -
>does an experienced player "read ahead" and know when such a disasterous
>fingering is coming up - and just prior to said contorsion - do the
>prefingering? Or is it always a matter of playing the piece - arriving at
>the spot, somewhat clumsily changing fingering the first time - but making
>a mental note to prefinger for the next time you play?
>
Once a player has mastered these motions (changing registers over a few
notes), those motions are included in scale and arpeggio and other
pattern studies that clarinetists practice, until, for the most part,
they become part of one's subconscious finger technique. Of course, some
patterns in real music will require isolation and practice, and possibly
even a mark to remind the player about the fingering sequence.
>
>It appears that the manual/dexterity component is overcome by much
>moaning, groaning and repetition (thanks Karin - I understand completely!
>:) - but in terms of actually reading and thinking about where and when to
>do this.. how does that work?
>
While there *are* certain pieces that require moaning and groaning while
playing, usually simple repetition for as long as you can stand it will
suffice!! ;-) As described above, the point of repetition is to
internalize these patters so that conscious thought about many finger
patters becomes unnecessary.

Hope this is somewhat helpful.

David

David Niethamer
dnietham@-----.edu
http://members.aol.com/dbnclar1/

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