Klarinet Archive - Posting 000052.txt from 2007/11
From: Richard Bush <rbushidioglot@-----.net>
Subj: Re: [kl] Chin Movement-Help!
Date: Wed, 07 Nov 2007 04:40:34 -0500
Bobby,
There are other issues associated with mouth movement. While you are =20
totally use to the way you sound, (and of course, don't we all think =20
mostly pleasant thoughts about our own sound) you are probably causing =20=
the pitch to 'porpoise' or scoop up quickly at the beginning of every =20=
note tongued. Yes, doing this will make the person tired. It will also =20=
limit the speed at which one can tongue. It you can't tongue any =20
faster than you can chew, then you will be most limited in speed.
Learning how to use the muscles at the corners of the mouth will =20
eventually stop these movements. Think of them as pillars that hold =20
steady the jaw and lips. Think more of your embouchure as being an "O" =20=
rather than an up and down clamp on the reed and mouthpiece. If you =20
are not using enough corner muscles in the right way, there is a very =20=
good chance that you are also pinching or biting on the reed. A =20
controlled pressure is needed, but not an up and down chomping onto =20
the reed. To much up-down pressure will only pinch off the tone and =20
inhibit the reeds' vibrations.
I would suggest slow, very slow tonguing of a single pitch. Do it in =20
front of a mirror and force yourself to hold the mouth, jaw and chin =20
still. Remember you've been doing otherwise for a very long time. =20
Doing it a new or different way will take great concentration and =20
focus, but it can be done IF you have the will.
I believe many players have such problems because they don't separate =20=
tone production from tonguing. After the act of tonguing, what we want =20=
is to have all elements of producing a tone in an idilic state, e.g., =20=
an exact balance of pressure against reed, an ideal reed strength for =20=
both mouthpiece and player balanced against air pressure, throat =20
opening, position of back of tongue, and the list goes on.
Many consider the act of tonguing to be a physical movement that =20
starts the tone and starts the reed vibrating. Quite to the contrary, =20=
the tongue PREVENTS the reed from playing. Only when doing all those =20
things listed in the paragraph before are we ready to UN-TONGUE and =20
allow the tone to start.
There are five basic steps to starting a tone. They are:
=95 Take a breath.
=95 Form the embouchure.
=95 Place the tongue on the reed.
=95 Blow (and guess what happens? NOTHING, because the tongue is =
still =20
on the reed, and if you're counting, I've only listed four.)
=95 And last, release or UN-TONGUE the tongue from the reed and =
do so =20
without moving the lips, jaw or any facial muscles.
Tongue shape and placement are also important. For most, the tip of =20
the tongue curls up slightly, and touches the reed just behind its =20
front edge. If the tongue is thrust forward into the tip end of =20
mouthpiece and reed, the tongue movement is then a gross forward and =20
backward movement of the whole tongue. Using just an upward movement =20
of the tongue tip is a less bulky and potentially much faster =20
movement. Also, a forward thrusting movement allows all of the saliva =20=
that accumulates on the tongue to be blown into the mouthpiece. This =20
'wet' or juicy style of tonguing is bad for the tone and bad for the =20
pads.
There are a few who have very long tongues. Such players usually =20
resort to a technique called 'anchored tonguing.' The tip is anchored =20=
behind the front lower teeth and an arching action is used to make =20
contact with the reed. I've never done it, so I really can't say any =20
more about this technique. One of my teachers tongued most =20
successfully this way.
Best of luck to you. Just being aware that there's a problem is a =20
large step towards fixing it. Sounds like your teacher is totally on =20
top of the situation.
Richard Bush
On Nov 5, 2007, at 5:52 PM, Robert Lapinski wrote:
>
> Hello!
>
> I am a freshman in college and and currently beginning my studies in =20=
> college as a clarinet major. I
> began playing clarinet my freshman year in high school and love it. =20=
> I hope to eventually go on to
> become a music therapist.
>
> Recently, in my first few lessons, my professor noticed my chin =20
> moving whenever I articulate, especially
> throughout faster passages with articulations. We tried a few =20
> different exercises with and without the
> clarinet and they usally work, but when applied to an etude, my chin =20=
> moves like crazy.
>
> My articulations are pretty clear and my tone is nice, but this chin =20=
> movement can tire me out (sounds
> kind of weird..but it does haha).
>
> Anyone out there have any suggestions, past experiences and what you =20=
> all did to overcome it??
>
> Thanks for your help!!!!
>
> Bobby Lapinski
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