 The Clarinet BBoard
|
Author: Chauncey
Date: 2007-04-02 23:13
Well, I've noticed from my playing that my throat tends to tense up and has some veins bulge out a little. It's not like someone is choking me, but I've wondered about this for a while.
Tensed up throats affect singers' quality of voice, but they don't have an instrument crammed in their mouth for them to blow on. I've tried relaxing my throat with some easy tones, looser embouchure, etc., but my throat just stays tense. Does it affect the quality of playing, and is there an easy way to stop it? That might account for some sweating problems I have sometimes when I perform (even on performances where I am calm and not nervous, although adrenaline may account for that...)
Post Edited (2007-04-03 00:35)
|
|
Reply To Message
|
|
Author: Chauncey
Date: 2007-04-02 23:21
I would also like to add that I do not overblow, I take a pretty nice, deep breath, I do not pinch, and my mouth position is adequate.
|
|
Reply To Message
|
|
Author: Brenda ★2017
Date: 2007-04-03 00:23
My teacher used to have me think of yawning while playing. I also sing, and find that there´s a fuller, less pinched sound when I expand both my upper chest and throat while singing. Also, opening up the mouth cavity makes a difference. But since we´re all built differently you´ll have to experiment to see what benefits you.
|
|
Reply To Message
|
|
Author: ChrisArcand
Date: 2007-04-03 03:04
If your sound is relaxed, and you're sure that you sound good, then I wouldn't worry about it. If you feel really tense, then I guess I'd investigate further, but just by "looking" tense (ie: bulging vein), I don't think it's a problem. There are plenty of fantastic players who "look" more tense than they really are.
CA
|
|
Reply To Message
|
|
Author: grifffinity
Date: 2007-04-03 03:29
ChrisArcand wrote:
but just by "looking" tense
> (ie: bulging vein), I don't think it's a problem. There are
> plenty of fantastic players who "look" more tense than they
> really are.
>
> CA
>
True point - ever watch oboe players up close - it's like the death of a bullfrog.
The concept of yawning is a good one to keep in mind, particularly in the altissimo, which if you are closing the throat CAN sound tense....or shrill...or any other variety of problems.
So, yawn a few times to ingrain the physical sensation so that you can manipulate those muscles for when you begin to play. I find the full yawn is too much, but I do employ a yawn like response - between relaxed and full yawn, when I play. Again, this is mostly helpful to me in the alstissimo. I find the technique must be adjusted for varying tendancies throughout different registers.
|
|
Reply To Message
|
|
Author: hartt
Date: 2007-04-03 03:59
You may want to consider getting a copy of Keith Stein's....The Art of Clarinet Playing book.
Thsi is readily available from BB sponsors, music stores and is an invaluable learning / refreshing tool.
Specific to your issue, read through chapters 4,5,6 and 7.
These deal with embouchure, relaxation, breathing & support, voiving the tone, opening up
He addresses this most notably in chapter 7, in the first section Opening Up.
Therein, Keith speaks of the 'Yawning' concept......also mentioned above by Brenda.
dennis
|
|
Reply To Message
|
|
Author: Chauncey
Date: 2007-04-03 04:11
I'm not worried about it affecting my quality negatively, I just wondered if it would help me out in the long run (if that makes sense). I have a friend with a tone that makes me want to melt, but she looks like she will explode soon in the neck.
Hartt, thanks for the suggestion. I'll keep that in mind, but I have Peter Handcock's "The Working Clarinetist" as a helpful tool.
Basically, I was just curious if there were already some observations on this kind of thing. Thanks
|
|
Reply To Message
|
|
Author: ChrisArcand
Date: 2007-04-03 04:57
>>>"True point - ever watch oboe players up close - it's like the death of a bullfrog."
HAHA! So true. BREATHE, OBOE, BREATHE!
>>>"Hartt, thanks for the suggestion. I'll keep that in mind, but I have Peter Handcock's "The Working Clarinetist" as a helpful tool."
Keep also in mind that many opinions are what helps you - Don't think that Peter Handcock's book is the only way to do it (not saying you did). As my own instructor always says, as cliche as it is, "there's more than one way to skin a cat." Another good book is Campione on Clarinet by Carmine Campione. Expensive book, but really good.
CA
|
|
Reply To Message
|
|
Author: hartt
Date: 2007-04-03 05:27
Chauncey...........I, too, have Hadcock's book. He was my teacher for one year back in the late 60's
I didn't have Stein as a teacher but I do play duets with and get pointers from one of his most stellar students, Dr, Charles Aurand.
These are two entirely different books.
Stein's book is geared more to developing technique (and I don't mean finger speed) , musicianship and phrasing/nuances, etc
It would be one of the best $10 you'll ever spend
dennis
|
|
Reply To Message
|
|
Author: BobD
Date: 2007-04-03 14:55
Check for a sinus or earwax problem.
Bob Draznik
|
|
Reply To Message
|
|
Author: Chauncey
Date: 2007-04-03 15:35
My sinuses are okay, but it has been a while since I've cleaned out my ears..:D
I just remember hearing some of Mahler's Lieder performed, and the woman sounded so.....forced with her singing. Her throat looked like it could resist a punch or two.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
