 The Clarinet BBoard
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Author: ffrr
Date: 2005-02-26 23:32
OK I _am_ new to this, but I have often experienced some pain in my right wrist when using a computer mouse, so I expected (after reading posts here etc) that I would have to be careful how I played a clarinet.
Yes I did experience some discomfort yesterday, and this morning while playing in front of a mirror, I noticed my wrist was very bent. I analysed the position and found that if I straightened my wrist my fingers had to angle down to reach the holes. Looking at the clarinet side on, I could see that the thumbrest was below the top right hand hole. Now, holding out my right hand in a relaxed position (sort of like for a handshake) it was obvious that the resting place for my thumb is slightly above the first finger, not below, so to play the clarinet, I was unconsciously cocking my wrist at a funny angle trying to get the finger positions.
So, on my cheap Vito, the thumbrest isn't really adjustable, however, it is only a simple tab of metal, screwed onto the clarinet like a little angle bracket. The rest has a rubber sleeve over it and will work upside down. I saw that I could unscrew it, and replace it upside down, gaining almost a thumbs width in height up the clarinet, so I tried it.
WOW ! So much more comfortable to play. I now believe in adjustable thumbrests :-)
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Author: sfalexi
Date: 2005-02-27 00:19
You have singlehandedly discovored through observation, one of the most widely used and widely suggested modifications of a standard clarinet's thumbrest position. I commend you!!!
Alexi
US Army Japan Band
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Author: ffrr
Date: 2005-02-27 06:11
hehe, why thank you.
My wrist is thankful too :-)
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Author: DavidBlumberg
Date: 2005-02-27 12:08
Why Clarinets are still made to the thumb position of over 100 years ago is quite beyond me.
It's just stupid!!
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Author: Don Berger
Date: 2005-02-27 14:17
Yes, ffrr and D B, me too, I'm among the group that has "beaten" this subject to near-death. While I'm not very familiar with new designs, several [like my recent Sel Omega] now come with adjustables, but still not to my liking ! I removed my adj. and put on [HIGHER], a standard TR, using a piece of pencil-grip tube as well, much better !! Don
Thanx, Mark, Don
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Author: sonatina1234
Date: 2005-02-27 14:55
Sometimes when my wrist is really bothering me, I move the computer mouse over to the left side and use my left hand. This may take some getting used to, but I've discovered that after a few years of using my left hand for almost everything except writing, I've become almost ambidextrous. Very useful :-)
-------------------------------------------------
Det. Lennie Briscoe: Maybe he's got some other life-long pursuits.
Lt. Anita Van Buren: Like what? You think he plays the clarinet?
Det. Lennie Briscoe: I *hope* he plays the clarinet.
~Law & Order
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Author: ken
Date: 2005-03-01 01:18
Here is the right hand position/thumb rest method I use and teach. The concept is loosely based on a system developed by Clarinetist, Porter Idom, who conceived it based on 1986 snapshots taken of Elsa Verdehr while in playing position. First, I strongly encourage using moderation and recommend a course of study using and applying these techniques slowly and deliberately. Introduce into the daily warm-up routine, i.e., long tones, scales, chords, chromatics, progressions, tremolos (particularly) then on slower and mid-tempo etudes, then gradually building speed.
Concept:
Incorrect right hand/thumb position produces excess tension in muscles physically supporting the clarinet during play. Poor "hand posture" constricts muscles and dramatically impedes finger dexterity. The what I refer to as "the claw" will rob technical facility and promote tendon and joint fatigue. This constant tightness also generates a literal chain reaction emanating upward from the fingertips to the shoulder blade. Repeated exposure can even result in bone and muscle damage, tissue damage, carpal tunnel wrist disorder, forms of tendonitis, and bursitis and rotator cuff problems.
Equally, a more relaxed and "natural" right hand position that deemphasizes extraneous movement and pressure points focus specific areas of the thumb, re-directs and channels negative energy downward between the fingertips and 2nd set of knuckles---this is where the "real" technique lives. A more relaxed right hand and thumb, and one that eases the arms and shoulders aid in more accurate, speedier technique. It also causes a wider, more even weight distribution on the thumb lessening stress on the middle joint-absorbing thumb and finger pads.
As the exercises are worked through, there are two approaches to the method, or points of view. One is to carefully proceed with discipline to develop accuracy by overcoming technical problems, and eliminating old habits. This approach can be defined as "intellectual thinking" or left brain activity. Conversely, right brain activity is consciously forcing the mind to listen and play with an "inner sense and emotional feel", and not from a calculated mindset. The student must remember to also apply the two T's, TONE and TIME. Develop good tone (intonation and sound quality) and time, (rhythmic accuracy and drive). More, pay close attention to pitch by creating a "tonal center" while conceptually reproducing it within the ear.
Routine:
Sit in an upright playing position, back straight sitting on the edge of the chair and feet flat on the floor. Place the bell of the horn on top, and behind the right knee cap (where the doc used to rap your knee). Relax, take 3 deep breaths, hold a few seconds and exhale. Grasp the horn in the left hand at the barrel, tilt back into playing position. Next, lift the right arm upward bending at the elbow, but horizontal to the floor. Tilt the horn inward, positioning it level with the thumb rest and ensuring to keep it 2-4 inches in front of the right hand. Next, let the right hand from the wrist to fingertips completely hang limp. Give it 5 or 6 good shakes getting all the kinks or stiffness out and let the hand hang freely. The forefinger and thumb should naturally take on the shape of a squashed or backwards “C”. Slightly cup all 4 fingers inward at the 2nd knuckle “only” and fashion a more pronounced backwards “C”. Raise the wrist upward slowly forming a perfectly straight imaginary line emanating back to the base of the elbow. The thumb should be pointed at 10 o’clock. With the left hand on the barrel, slowly guide the horn into the right hand as if slipping on a glove. With the bell still resting on the knee, pull the horn into the backwards "C" and "rest" the middle joint of the thumb under the thumb rest at the most “top and inside left” corner closet to the bore (note: do not grip or squeeze thumb's pad against bore). Maintaining this position use the “left” hand to toggle making minor adjustments so the fingertips are covered and centered over the tone holes. Achieve an "in the pocket" feel, one that is functional but comfortable. Slowly align the middle three fingers centered and 1/4 inch above the ring keys. Conclude by resting the right pinky on top and "between" the Ab/F nat/C nat/Eb right/top cluster keys, still ensuring the fingertips are in a cupped position. Repeat finger positioning scheme with left hand, but slightly tilt the left hand upward about 10 degrees. Raising the angle slightly will increase technical speed on the teardrop keys, and better brace the left thumb to seal the thumb hole when going into the break.
Exercises:
#1: Acquire and sit before a floor-sized mirror (or pocket/embouchure variety strategically placed) to monitor progress. Use a metronome (set to 1/4=80). Play 1/4 notes (tongued or slurred) a 5th of an F maj scale from low F nat to C nat and back down. Repeat 5X. The purpose of the exercise is keeping the "whole" body (shoulder down to fingertips) as motionless as possible. Repeat using left hand playing a 5th of a C maj scale, C nat to open G nat and back down. After mastering the technique at the slower tempo progressively increase 4 metronome clicks at a time up to 1/4=144.
#2: Play chromatically tongued or slurred, (1/4=80) from right side low F# to C nat using both middle/forked fingerings (repeat method as in exercise 1).
#3: Train and strengthen the pinkie with right side (only) tremolos slow to fast. Alternate combinations; low E nat to G nat to F nat to G nat to F# to G nat to Ab to G nat etc; rotate patterns, clockwise, and counter clockwise in an "X" pattern. v/r Ken
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Author: Tim P
Date: 2005-03-02 13:44
My LeBlanc Sonata has an adjustable thumbrest but it is too low, even in its high position. Not having the tools to drill tiny little holes for the thumbrest on I just used a hot glue gun and stuck the little screws in container for someone to use. I learned of this trick, somewhere on this board and it worked very good.
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Author: Don Berger
Date: 2005-03-02 13:58
Very well said and a "chapter??" of your ?book?, Ken ? A "side benefit" to a higher TR is my much improved accessibility to the rt hand E/B touch-piece,without "flicking" the C/F touch. Try it, Don
Thanx, Mark, Don
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Author: claclaws
Date: 2005-03-03 12:55
Ken,
Great advice. Will help me a lot. Thank you.
Lucy Lee Jang
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Author: fredackerman
Date: 2005-03-03 15:42
I found the original thumb-rest on my Selmer BT & N to be very uncomfortable, When John Butler did my complete overhauls he installed new Selmer adjustable rests...like day & night! I also had him change the rest on my Leblanc 200, now I have one happy thumb and my playing improved greatly!
Fred
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Author: sfalexi
Date: 2005-03-03 15:48
I have to say, the thumbrest and positioning on my Selmer 10G, well, for lack of a better word, "ROCKS!"
Just thought I'd rub it in a bit . . . ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
US Army Japan Band
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Author: Avie
Date: 2005-03-03 18:14
I have the same problem with the new R13's as Tim P does with his Leblanc. The adjustable thumb rest isnt mounted high enough on the new R13's that I have tryed. When the TR is in the Max. upward position my thumb is still positioned too low for a comfortable Rt. hand position. It defeats the whole purpose of the adjustable thumb rest. Hopefully quality control will address and properly correct future productions.
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Author: EEBaum
Date: 2005-03-03 22:57
A quick visit to a tech fixes the problem very nicely. While I agree that the new R13 thumbrests are way too low, a friend says they're too high for his hand.
-Alex
www.mostlydifferent.com
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Author: Joel Clifton
Date: 2005-03-07 14:38
Get a neckstrap. It will work wonders. Sometimes for various reasons (usually because I forget to put it on), I play the clarinet without it, and after about ten or twenty minutes my thumb and wrist are hurting so bad I have to rest. I have NEVER had a problem with pain when I use the neckstrap.
I've been playing for 10 years so it's not just weak muscles either. The thumb is not designed to hold weight that way, and the stress in your thumb causes tenseness in your wrist.
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"You have to play just right to make dissonant music sound wrong in the right way"
Post Edited (2005-03-07 14:39)
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Author: John Stackpole
Date: 2005-03-07 14:49
Maybe thumb problems are why one sees pictures of Benny G (and other predominately jazz/swing cl'n'ists) blowing up hill - gave them a moment's recovery time.
JDS
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Author: Don Berger
Date: 2005-03-07 16:37
Good thot, J S, it always seemed to me to be a way of "getting over" the Dixie brass and rhythm. Don
Thanx, Mark, Don
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Author: mnorswor
Date: 2005-03-07 17:25
Ken,
Porter Eidam was my teacher while in high school and then he sent me off to Elsa for my undergrad. Did you know him?
He was a wonderful teacher who had many euphemisms. The funniest of which was when he was conducting a band during a summer camp I attended.... the band simply could not hang together and it sounded very disjointed, much like the lurching of a car when someone is learning to drive a stick shift. Porter worked very patiently with us and then simply hit the wall. He asked us all if we all enjoyed sounding like an "epileptic spider"! We of course said no, and proceeded to fix the problem.
I have so many wonderful memories and still talk on occassion with his son and his wife. Porter died a few years ago from cancer. It was during the summer and he insisted on going back up to New England Music Camp to fulfill his teaching and directorial duties. Many pleaded with him to fly up, to which he gave a resounding NO. He was fond of the drive up through New England and thought it to be one of the most beautiful things he had ever done. He died in Maine that summer and NEMC hasn't been the same since.
I miss my old friend and brilliant teacher Porter terribly and was thrilled to see another who had benefitted from his extensive knowledge.
Thanks Ken,
Michael
P.S. He taught me how to hold the instrument too!
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