 The Clarinet BBoard
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Author: Brenda
Date: 2005-11-24 14:13
This subject is more for those who are learning, but the topic about our state of mind while performing can extend to the studio. Students of course feel very nervous when they're trying to play a passage and the high notes come out with a swawk or the reed closes up, whatever.
After checking first to see if the clarinet is in good repair and actually plays, I've begun trying a technique that appears to have good success. I tell the student to play the passage or scale, and when they're approaching the swawk instead of the high note, just pretend that they really want that swawk to come out and they'll be so pleased to hear it. Magically they relax and the proper note comes out along with a beaming smile!
Whether learning a new skill or getting through some of life's normal struggles, it's a brain game. It's as if one side of the brain has to convince the other side that something is just fine when the other is screaming that it's not.
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Author: Synonymous Botch
Date: 2005-11-24 16:48
I still think the frisson of fear generated by regular beatings is faster...
"Pour down CENTER, release aroma!" Schwak!
(Sorry, been reading Tony P-ostings, again.)
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Author: ron b
Date: 2005-11-24 18:28
That's a good insight to keep in mind, Brenda. Thanks for the 'reminder'.
Yes, indeed, our brains are tricky gadgets. I often tell my "students" that squawks and squeaks are normal and nothing that will hinder anyone's performance. None of us have had the surprise sounds magically disappear... yet. But, if a funny sound comes out, we just kinda chuckle and keep on playin = all part of a fun time tootin' 
- r![[cool]](http://test.woodwind.org/clarinet/BBoard/smileys/cool.gif) n b -
_____________
p.s. -- With your permission, Brenda, I'd like to try your method.
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Author: Bob Phillips
Date: 2005-11-24 19:29
My "new" set up and its related embochure seem to make me squeak more frequently. I had my standmate in stitches two rehearsals ago, saying, "I'm glad its you."
Bob Phillips
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Author: Brenda
Date: 2005-11-24 19:54
Synonymous Botch - haven't yet tried your method on my students - mind if I borrow it?
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Author: Bob Phillips
Date: 2005-11-25 15:06
I'm with SynB, but am glad my teacher doesn't apply it to me!
He just says, "Almost."
Bob Phillips
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Author: b.roke
Date: 2005-11-25 21:18
as a more mature beginner coming up to his 1st anniversary on the clarinet I have been 'disturbed' at times by the sounds that come out differing markedly from those that were intended. I wonder what is 'normal' as I don't hear others playing very often. Some days I wonder if this instrument is for me and maybe something without a reed might be more enjoyable to learn, while on others I am almost pleased with myself(the other day I played Stranger on the Shore 2x through without a glitch).
Could people give some indication of of how much this curse affects their practice and playing?
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Author: Brenda
Date: 2005-11-25 21:20
Actually my post was more about our point of view of our own playing. As everyone here knows we can get ourselves so tangled up in a ball of nerves that we're our own worst enemy. Previous posts have mentioned such things as viewing the audience members sitting in their pyjamas, etc., indicating playing a game with your brain to settle it down. So if we as teachers can help our students handle mistakes with less trepidation and just get on with the business of learning and playing instead of feeling this huge burden of guilt that, "Oh no, I've made a mistake AGAIN!!", then our students would have gone a long way towards being able to manage their mental point of view. It's too bad there are still teachers out there who'll fling their stinging criticism with such force that they may as well still have a ruler in their hand.
By the way, there's a blurb in Keith Stein's book (The Art of Clarinet Playing) about auditions. He describes "one of the greatest conductors of our time" (late '50's) who would ask the auditioning musician to repeat the passage six or seven times. The purpose was to see if 1.) the beautiful playing wasn't a fluke, 2.) if the player really has control of the passage, and 3.) if the player can learn and correct any mistakes that might have been made earlier. As he puts it, "to determine if the player has the necessary control to remain calm, think, add improvement, and demonstrate reliability." (pg. 41) In my mind this makes far more sense than accepting someone who didn't goof too badly on the first try, and then having the superior player sitting in second spot or not being there at all just because of performance nerves during the audition.
And in this edit, now that I have the book open, he credits the ability of the musician to have such control and calmness to his having spent the time to practice the piece with evenness, and in speeds ranging from very slow to the controlled maximum, to "make technical haste slowly". I've heard of those who can play a passage with bewildering speed, only to badly stumble when required to play it slowly. This is part of really knowing the music, to have played it "inside and out" and even playing it silently without the clarinet in hand. That helps one to be able to perform with more confidence. It probably takes a certain level of maturity to have that patience.
Post Edited (2005-11-26 03:28)
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Author: Clari9801SC
Date: 2005-11-28 01:23
When I studied, I had a teacher that told me to hit those high notes- say ahhh and while you are saying eee the tongue touches the roof of the mouth to produce those high tones. It worked very well with me then again everyone is different. Maybe try this.
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Author: Lani
Date: 2005-12-05 01:48
B. Roke,
About squeakings. Until I got lessons I never understood why and how I was squeaking.
I have had lessons for about 4 years now and am up to 6th Grade and very rarely squeak unless I'm really tired or I'm performing and super nervous and haven't warmed up properly!
It will pass and then you'll be like, whatever happend to my squeaks?? They're virtually gone!
But then, you'll be so busy working on other things like getting over the break smoothly, lightening up your tonguing, building up your speed etc.
Re avoiding squeaking: warm up well before public performance to help nerves, prepare well first of course. Also, I was taught to think of having an 'opening throat' or room enough for an orange in my throat and this mental image helped me find it.
Post Edited (2005-12-05 01:50)
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