 The Clarinet BBoard
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Author: Amarlyse
Date: 2008-11-02 05:31
I'm actually a clarinet major in college, and I'm having some problems with dynamic changes. My teacher says I need to exaggerate them more, but every time I come to a crescendo or decrescendo I tense up, and then I squeak. I cannot seem to get rid of this tension. I've tried just blowing into the instrument and not actually making a sound and using a breath builder, but every time I get to a crescendo I tense up and close off the back of my throat. I also noticed that changing dynamics while tonguing is quite a challenge for me. Any suggestions would be appreciated.
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Author: Arnoldstang
Date: 2008-11-02 14:23
Just throwing out suggestions....1. think size of tone instead of loud and soft..... so small and large ie small circle and large circle of sound. 2. examine how you use abs in supporting the crescendo.. IMO...focusing on tight abs can result in tight neck and throat area. 3. Practice FFF and relax....even go overboard for practice...practice with a relaxed embouchure..let it go! 4. Practice with a tuner....loud and very flat.. Don't try to keep the pitch up. Voice it low....actually force it low. 5. Practice using this lower voiced FF and matching it to your soft playing. ie...everything lower in pitch. 5. It sounds as though you just can't play loud enough? If this is the case then perhaps you are actually coming to a wall that is put there by your set up. Compare how another clarinet major does with your equipment. See if they play with a greater range of dynamics with your instrument and mouthpiece/reed.
Freelance woodwind performer
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Author: Arnoldstang
Date: 2008-11-02 15:03
More shotgun stuff.... try practicing on very soft reeds.. get the softest rico reed you can find #1 1/2 or whatever... blow this reed ...get the maximum FF you can get. .......try this also.... Joe Allard suggested underblowing notes... take a g above the staff and try to voice it low. A multiphonic will come out... E bottom line, G above staff and other stuff. Then go back to just playing the G. Voice this right on the edge for maximum resonance. The pitch won't be flat but the tone will be full of overtones. This type of loud is quite different than just blowing more. Work on this G multiphonic so you hold all the resultant notes in a long tone.
Freelance woodwind performer
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Author: Amarlyse
Date: 2008-11-02 20:59
Ok, I'll give all of that a try. Thank you very much for your advice.
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Author: Nessie1
Date: 2008-11-03 08:03
To go back to basics just in case - do you practise long notes with different dynamic levels and progressions (loud, soft, crescendo, diminuendo, crescendo and then diminuendo again)? Start with pitches in the middle of the range and then do higher and lower notes.
If you do, or when you have done a bit of this, when you come to make a crescendo or diminuendo in a piece, think back to the long notes and keep the breathing basically like this.
Vanessa.
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Author: Arnoldstang
Date: 2008-11-03 11:47
Check tension in the neck. Hold your throat with your left hand as you blow. Purposely tense the neck muscles and feel them as you blow strongly. Do the same relaxing the neck muscles. Make sure you blow strongly. You can do this away from the clarinet and with it on throat! Bb.
Since we're not sure about the source of your problem you have to try many things and think about what you are doing. The answer might be obvious or something you haven't even considered.
There was a famous trumpet pedagogue years ago named Carmine Caruso. He didn't even play trumpet but players would flock to him for advice. Many times the teaching methods were a bit unusual. People with problems would ask for a solution. One of his answers was "if I told you it wouldn't help". As ridiculous as it sounds he believed there was a process that had to be worked through. It wasn't just a mental approach. The body had to be retrained in many cases. I'm betting your problem won't take much to fix. Good luck
Freelance woodwind performer
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Author: Claire Annette
Date: 2008-11-04 22:32
Think of your clarinet as an extension of your voice. Concentrate on opening your throat (like a yawn) and play like you are singing rather than technically blowing air in the horn to sound a note. Think of your dynamics as emotions/expressions and "sing" them that way.
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