 The Clarinet BBoard
|
Author: ruben
Date: 2025-11-01 15:40
By "air attacks", I don't mean bombs falling on one's head. I mean attacking anote-or rather starting some tones-without the use of the tongue. I was told by my one of my teachers never to do this, but it would seem to me this is an enlargement of one's expressive vocabulary.
rubengreenbergparisfrance@gmail.com
|
|
Reply To Message
|
|
Author: Chris P
Date: 2025-11-01 16:03
Some altissimo notes in certain conditions will speak better using an 'air attack' than being tongued.
Although a lot of clarinet players I know are ATTACK WARNING RED! ATTACK WARNING RED! all the time.
Former oboe finisher
Howarth of London
1998 - 2010
Independent Woodwind Repairer
Single and Double Reed Specialist
Oboes, Clarinets and Saxes
NOT A MEMBER OF N.A.M.I.R.
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Philip Caron
Date: 2025-11-01 16:59
Sometimes floating a note into audibility, with no "attack' or pressure release, is effective.
|
|
Reply To Message
|
|
Author: kdk
Date: 2025-11-01 17:55
ruben wrote:
> ...attacking a note-or rather starting some tones-without the
> use of the tongue. I was told by my one of my teachers never
> to do this, but it would seem to me this is an enlargement of
> one's expressive vocabulary.
>
I think, from what I've read, that Marcellus opposed starting notes this way, so I imagine many of his students would have adopted the same attitude. He probably wasn't the only clarinetist in history who took that position.
The thing about tongueless starts is that you need to be in very good control so the note speaks when it needs to. You can produce a note that "just appears" without an obvious "attack" whether you use a slight push on the air column or a very light release of the reed by your tongue. To me, what's important is what the listener hears rather than how you produce it.
Karl
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2025-11-01 19:46
There was an internet available master class given by Karl Leister at Northwestern University where there was a note in the Brahms 1st sonata that he wanted a student to execute without the tongue. It is a long, "accented" chalumeau note that actually sounds pretty cool with this technique because it merely "rounds out" the beginning of the note, like a singer starting a word that begins with a vowel rather than a consonant. Seems pretty clear that this sort of approach should be just another arrow in the quiver rather than a controversy, however, the student(s) had quite the problem executing this probably more out of habit than will.
Since I saw that, I look for opportunities to start notes without the tongue, and there are A LOT of great places to do so!
..............Paul Aviles
|
|
Reply To Message
|
|
Author: ruben
Date: 2025-11-01 20:21
Karl: Mitchell Lurie was also dead set against starting a note without using the tongue. He said that when teaching, he was always on the lookout for this in order to correct it. I don't understand why.
rubengreenbergparisfrance@gmail.com
|
|
Reply To Message
|
|
Author: Ed
Date: 2025-11-01 20:54
I agree that it is another very effective musical approach. Over many years of playing, it was not something I did a lot, but there were instances where it served the music beautifully. I agree with Paul, that it is like using a vowel rather than a consonant.
When I think about the many varied ways a string player might use the bow or how a singer might approach a note, I see no reason why we should limit what we do. While I am all in favor of a good solid grounding in the pedagogy and techniques of the clarinet, I think it is also important to think about the best way to express the music.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
