 The Clarinet BBoard
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Author: Tyler
Date: 2005-10-14 02:11
Ok, I hope I haven't posted too similar of a question before, but this is really going to help my tone if I get some good responses here. I have just recently begun to truly apply the concepts of good air support without squeezing the air out and keeping an open throat and high tongue position and pointed chin. However, I have problems when trying to coordinate an "eeh" vowel, an open throat, and a pointed chin. They all seem contrary to each other; I know they're not, but it seems so difficult especially to point my chin and keep a high tongue position all at once. So my question is: does anyone have any metaphors of technique (which we as clarinetists so adore) concerning the coordination of maintaining a high tongue position in conjunction with maintaining a pointed/flat/whatever chin? Thank you for any input whatsoever; these ideas are helping me to discover a tone closer to my ideal concept of tone: deeper and more open. Other things I have yet to try which may help in discovering that sort of sound for myself include: mouthpiece besides my VD M15 and reeds other than VD V12 #4's. I'm not slamming these products, I just think the combo gives a sound that's a little 'edgy' once you get above G on top of the staff.
-Tyler
Post Edited (2005-10-14 02:19)
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Author: Paul Aviles
Date: 2005-10-14 10:22
Tyler,
I disagree with the "open throat" concept as an ideal. Let me please apologize in advance if this is in conflict with those of you "North of the Border." Eeh is good, ah is bad (in my experience). The tongue actually is pretty much in the same position it is when you're just sitting watching television. I believe we get too caught up trying to "DO" something.
All metaphors aside, if you blow (more of course for actual clarinet playing) as if you are cooling off a hot cup of coffee (you detail oriented folks are welcome to use a thermometer here - it's NOT a metaphor) the air stream you produce shoud be cool, thin, focused and so should your sound.
Also, try engaging the upper lip more. Many good players have used double lip, but you can get many of the benefits with a standard embrochure if you use the upper lip muscles to "draw the upper lip down." Check out your embrochure with no clarinet at all. The entire apperture should be firm ALL AROUND.
......hoplessly Mid-Western American,
............Paul Aviles
Post Edited (2005-10-14 10:23)
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Author: Tyler
Date: 2005-10-14 20:28
Thank you; the other day, I was actually telling my younger brother who also plays clarinet, that every time I try to "fix" my embouchure, I end up making it worse until I realize that it should actually feel very natural. But now and then, I still get caught up in technicalities. Also, I HAVE read that concentrating on downward upper lip pressure helps to 'point' the chin. Thank you for your help---I'm going to practice now. Any more suggestions would also be appreciated.
-Tyler
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