 The Clarinet BBoard
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Author: potatohead
Date: 2004-04-25 00:01
I can't really do anything more about one of the situations, and I have two, so I'm asking for advice.
1) I was horrified to discover last night that all but one of my reeds were ruined. The other 7 reeds had mold growing inside of them. I'm starting to break in 5 reeds from scratch, again, but I think that I have lessons in 2-3 days. I don't know what to do, and the reed that DID survive was the oldest one and the most worn out one. I am kind of frustrated with it all and I don't know how to handle it. Any ideas? The breaking in process seems a lot longer, now that I'm trying to break 5 in at the same time, kind of rushed.
2) I have very bad tonguing issues. I don't know, but when I tongue, my whole throat seems to move with my tonguing, like it "comes out and goes back in" each time I tongue. My teacher has gotten on my tail for that and tried to help me. It worked for about two weeks, and now I think I am back to my old habits. I am making my chin "pointed" (that was what helped me tongue correctly before) but I am still able to "tongue with my throat". I am getting frustrated with THIS too and I am going crazy. Any ideas for a solution?
Like I said, I am just about going nuts and I hope that someone can give me your best shot at the problems.
-MG
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Author: sfalexi
Date: 2004-04-25 00:25
1) What I do (not what you HAVE to do, but it's worked for me) is use a combination of the Doctor's lite thirsty reed pad and some cheap la voz holders. After playing with a reed, I wipe it and squeeze as much saliva off of it between my thumb and index finger, then slip it into the thirst reed pad. The next time I play, I take a reed from my LaVoz holder and put that in my mouth to moisten up. I then switch the reed from the thirsty reed pad to the LaVoz container. As far as breaking in reeds, I never break in more than two at a time so I'm safe with this method. And by the time the two are broken in, I can break in another two. And there's NO WAY I can lose more than two reeds in five days so I'm completely safe and try (and often easily succeed) in keeping my laVoz reed holders full with working reeds.
2) Best thing to do (I think) is dedicate some time EVERY DAY to just concentrating on this ONE thing. Try just blowing whole tones and then softly and slowly articulating legato without moving the throat. Quarter notes at first, etc, and build your way faster and faster (making sure that if you hit a speed that starts your throat going, go back a notch and leave on a GOOD note)(no pun intended). Ten minutes a day or something isn't too much to ask and it'll probably help get rid of that problem. Then after those ten minutes, play however you do normally, but if you happen to catch yourself closing the throat, take that same section again, but lots slower and concentrate on keeping it open. That way you sort of "train" yourself by 'punishing' yourself every time you do it wrong and making sure you get it right.
Alexi
US Army Japan Band
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Author: hans
Date: 2004-04-25 01:12
A little hydrogen peroxide might clean up your existing reeds.
You could also try a plastic reed. If any mold grows on it you can just wipe it off and break-in is not an issue.
Tonguing can be learned by playing a long note and lightly
flicking the tongue against the tip of the reed to stop the
vibration momentarily to interrupt the note. Repeat this until the
starting and stopping of the note is smooth and the stream of
breath is continuous. The tongue should be as relaxed as possible
and as little of it should move as necessary. The lower jaw should
not move with the tongue, and the throat should be relaxed and
open.
Start the air pressure from the diaphragm before the tongue
releases the reed to vibrate.
To play legato or rapid staccato, the tongue's return to the reed
stops one note and starts the next. In finishing the ends of
phrases or in stopping the vibrations of notes followed by
intervals of silence, the diaphragm will stop the flow of air.
Experiment with tonguing the corner, centre, or the entire tip of
the reed to discover important differences in the abruptness and
quality of tone beginnings; e.g., legato is achieved by tonguing
near a corner or by reducing air flow by passing the tip of the
tongue near the tip of the reed, while strong accent is achieved by
covering the tip of the reed from side to side.
To keep from going nuts, go for a walk or take slow deep breaths while counting backwards from 50 to zero, and avoid caffeine (coke, tea, coffee, chocolate).
Hope this is useful.
Hans
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Author: Alexis
Date: 2004-04-25 03:34
If you can't tongue a slow passage, you can't tongue a fast passage.
Play a low Bb, starting the note with a breath attack. Let the tip of tongue touch the tip of the reed, but keep on blowing through the silence. Remove the tongue from the reed to make the note sound again.
The important things to remember are:
1. You must always keep the air flow constant. In terms of airflow, almost every musical phrase is the equivalent of a long note.
2. To keep this airflow constant you must maintain your embouchure for the duration of the passage.
3. The note sounds on the RELEASE of the tongue, not the (small) impact of the tongue on the reed. When practicing tonguing, focus on the release of the tongue - the articulated note should have the same sound quality as a legato note.
If you can find "The Cambridge Companion to Clarinet", Anthony Pay has some excellent ideas in regards to tonguing. I believe he has also paraphrased them on the Klarinet Mailing List, and should come up if you do a search on tonguing there. I also was given some excellent ideas by Cynthia Nichols from the University of Nebraska - Omaha and would be happy to email them to you (click on my nickname for email address)
I have spent 8 years of my 9 year playing life tonguing incorrectly and it really has only started to work for me in the last couple of months. The most important thing is to be patient, and to do SIMPLE tonguing exercises. If the exercise is too complex then you will resort to bad habits in order to achieve the desired result, and then you are back at square one. Aim for small improvements in the short term and you will get somewhere in the long term.
I really do hope this helps.
Alex
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Author: William
Date: 2004-04-25 15:48
All of the above technique solving suggestions are commendable, but if, as you say, "reeds had mold growing inside of them", then you may simply be not practicing enough or on a regular enough schedule to make significant or meaning progress with your tonguing issues. Reeds that are in constant use should not grow mold--at least, after 45 yrs of semi-professional clarinet and saxophone performancie, that is my personal observation. Like the old saying about moss not growing on a roll'n stone, play your reeds in constant rotation so that they are not sitting around idle for too long a time. Regular practice--even on days of performancies--will help keep your reeds "roll'n" and hopefully, mold (and moss) free. And the practice--following the advice given above--will help improve your tonguing and fingering techniques.
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Author: Burt
Date: 2004-04-25 16:35
I agree with Hans' suggestion about hydrogen peroxide. I reclaimed some of the reeds that developed mold when I put them away in a plastic bag for use much later. Soak the reeds in a small glass for at least 5 minutes - longer if the mold hasn't come off yet. I don't know how long you can go before the hydrogen peroxide ruins the reed, but you have nothing to lose.
Then rinse the reeds and soak them in water for a few minutes. And dry them well.
Good luck.
Burt
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Author: potatohead
Date: 2004-04-25 16:35
Thanks everyone! I will try those tonguing techniques. I like the self-punishment thing... I have a feeling that might work. It's almost like electroshock treatment, isn't it?
William: This isn't meant "meanly" or anything so please don't take it that way, because that's not how I intend it to come out. (I sometimes word things VERY badly and people take it that way, so fore warning.) I practice every day and I rotate in the middle, so... I don't know. For example, even the reed I was using the night before had grown mold "inside". Maybe I'm not wiping it off enough? I don't know... I'll try to rotate and practice more?
Once again, thanks for your insights and I'll tell you if any progress comes.
-MG
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Author: Brenda
Date: 2004-04-26 00:29
There's been previous discussion about moldy reeds - I had that problem as well until I prevented the problem by using a few drops of hydrogen peroxide in my reed water, or a few drops of mouthwash that's sufficiently awful to be disinfecting. The comments about keeping the reeds wiped and keeping air flow around them help as well, but this way you nip the problem in the bud and don't let it even get started.
There's much to be said for relaxing all non-essential muscles while playing. These matters are brought up repeatedly in the clarinet manuals. To alleviate throat tension, concentrate on firm diaphram support and starting a powerful but controlled air flow from below. The throat should be left open (think about singing, and allowing the full air flow through the throat) to allow for a full sound, whether you're playing pp or ff. The tonguing will just fall into place easily this way - used only to stop the sound, and while the diaphram pressure is still there, to start the sound again by releasing the tongue. The throat will remain relaxed.
Think about your shoulders, arms and fingers as well. Use only enough force to support the instrument. Your body should stay flexible, not stiff and tight. Remember to firm up only what you need to in order to get the job done, and that's mostly your diaphram and your embouchure (not the jaw).
I would suggest getting ahold of a couple of these books that have been suggested on this BB. They provide a good overview of all aspects of playing. You'll pick up many things that will improve your playing.
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Author: Tom J.
Date: 2004-04-26 19:12
1. Mold can develop in any reed stored in a case holding the reed on a non-porous surface, such as glass, or any holder that closes and does not permit air to circulate around the entire reed. After many years of trying various cases I now store all my reeds in the plastic sleeves Vandoren uses to package their reeds. My reed case museum now rivals my ligature museum.
Peroxide is perfect for rejuvenating reeds inundated with foreign matter. It is also great for removing accumulated deposits from mouthpieces. The regular drugstore variety peroxide is only 2%, but I prefer the 4% solution available at all beauty supply shops. Ensure that you handle with care, you may want to wear rubber gloves.
2. When practicing your staccato make sure that the top of the tip of your tongue touches the reed lightly, with enough force to interrupt the reed's vibration, but no more. You need to find the right spot on the reed where you can get the most "stoppage" with the least effort. Also, make sure the air pressure does not stop while the tongue is touching the reed. The tongue should act as a valve regulating a continuous flow of air. If the air pressure is not continuous then your throat will move. Try it.
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