 The Clarinet BBoard
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Author: suavkue
Date: 2010-04-05 00:49
During last summer (when I was still taking private lessons), I was working on the Copland Concerto, specifically on the ending glissando. I realized that it's not just an upward chromatic scale; it requires the "bending" quality, as in Gershwin's Rhapsody in Blue. I once asked my teacher about it - she told me that my embouchure was too tense, and even when she showed me how to execute it, I couldn't move my chin down (i.e. relax my embouchure) because my embouchure is so tense. What do I do about this?
Thanks for any help.
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My current equipment:
Ridenour Lyrique 576BC, Rico Reserve 4, Ridenour Hand Finished Mouthpiece, Luyben Ligature
Post Edited (2010-04-05 00:50)
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Author: JJAlbrecht
Date: 2010-04-05 00:59
Part of it is definitely the embouchure, but some of it also may have to do with the voicing of the note, or how you adjust the tongue and the rest of the interior of your mouth to accomplish the bend. Others will doubtlessly have more to contribute on this. I've never been really good at that type of sound production, either.
Jeff
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Author: Ralph Katz
Date: 2010-04-05 01:42
We are trained to developed a stable tone, with specific chin, lip and tongue position. This is much akin to an airplane in level flight ("flying in the envelope"). Things work efficiently, and predictably, with maximum control.
But, most airplanes will fly outside of the envelope: rolled sideways, nose up, yawed to one side. To do this, you compensate by adjusting rudders, elevator, and other trim well out of their normal positions. This is not fuel-efficient, but an airplane will definitely stay in the air like this.
Likewise, your clarinet can make sounds with your jaw and tongue in the wrong place. This is not efficient, but you may well be able to make a pretty good sound with a little practice, albeit with more effort than normal.
Classic tongue position has your tongue conceptually in position to say "ee". Instead, say "aw". Try going "ee" - "aw" - "ee" - "aw". This may help get you started with pitch bends.
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Author: Ed Palanker
Date: 2010-04-05 11:59
This topic has been discussed here many times before, check out the archives. Basically it's a matter of voicing, relaxing and a combination of sliding your fingers. Some people do more of one than the other. ESP http://eddiesclarinet.com
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Author: wolfedp
Date: 2010-04-05 14:56
A good way to train your mouth to voice correctly for slides and smears is to play a high C and dive off the note as far as possible before losing the upper partial. One you get good at that, just voice the first note of the gliss the same way you are voicing at the bottom of the dive. You should get to the point that you can drop a C all the way down to around F or G.
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Author: Bob Bernardo
Date: 2010-04-05 18:59
I'm not sure if there is still a recording available with the Cleveland Orchestra performing Rhapsody in Blue. The amazing part of this recording is Dave Shrifrin played the solo. THe conductor wanted him to play it very slow. It lasted about 45 seconds!
Anyway, back to the topic. You may be biting too firmly on the mouthpiece causing your lower jaw not to move. Also, learn to slide your fingers off the keys, one finger at a time. Then 2 fingers, 3 fingers, working your way up the scale. As usual, with any type of good practicing skills is do this slowly, similar to what Dave did.
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Author: USFBassClarinet
Date: 2010-04-06 01:05
I think I found it Bob. It is on Itunes. It does seem to last forever. I love it. The bass solo seems to be drowned out a lot though.
Comes with Porgy and Bess
American In Paris
and Cuban Overture
Post Edited (2010-04-06 01:07)
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Author: Bob Bernardo
Date: 2010-04-06 01:40
Cool! Can you send me a link? I forgot who the conductor was, but it was after Szell left.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: BobD
Date: 2010-04-06 20:09
The gliss is as much a klezmer thing as it is early Blues......
Bob Draznik
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