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Klarinet Archive - Posting 000813.txt from 2002/05

From: "Jay Webler" <webler1@-----.com>
Subj: Re: [kl] selmer intonation
Date: Fri, 31 May 2002 00:12:18 -0400

There has been discussion in the past about using the tongue to voice the
notes in the upper Clarion and Altissimo Range. This has been very
effective for me and for my students. The students that have started with
can usually play into the Altissimo range without biting because I
constantly
remind them to use the long "E" sound to get there tongue in a position that
will create a faster air stream, and use more air support. It is more
difficult
to get my students who have played for awhile to understand this concept.
On of the things I do with those students, if their in a good mood, is have
use a double lip embouchure and then try to get the higher notes. This
discourages biting since it tends to hurt the upper lip. With the double
lip
they have to use more Air Support and voice the Clarinet. I often
demonstrate
this to them by playing a chromatic scale through the full range of the
Clarinet to double
high C using double. I am not a double lip player but it does show to the
student that
you do not need to make large changes in the embouchure to play in the
Altissimo range.

As far as making any changes in the throat I am not sure that I can go along
with that method.
One of the problems with many young students have is closing the throat when
making changes over
the break. I am afraid that this would just encourage more bad habits.
Besides, it's difficult enough
trying to get the student to use the tongue to voice the instrument without
trying something that
would be harder to explain.

Jay Webler
Jay's Clarinet and Percussion

----- Original Message -----
From: "Gary Truesdail" <gir@-----.net>
Subject: Re: [kl] selmer intonation

> It never hurts to have a sharp upper register as it forces you to keep
> an open embouchure and consequently an open tone as you open up to keep
> the pitch down. Many players find themselves pinching to get the high
> notes when, in my experience, it only takes an adjustment in the throat
> similar to singing falsetto.
>
> What does anyone else say about that last statement? (Tony P. this one
> is for you. I've been meaning to ask you this for a long time)
>
> GaryT
>
> ---------------------------------------------------------------------
>
>

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