 The Clarinet BBoard
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Author: dtclarinet ★2017
Date: 2009-03-15 18:17
The basics of breathing and support can be confusing when a student becomes self-conscious and begins to alter the natural coordination of breathing in order to "learn" the best way.
The best way is the natural way, which is tricky to learn, and to teach, because it's also very complicated.
I try to keep my recommendations simple, like "blow out a candle that is accross the table", or pant like a dog, then slow it down until you can control each inhale/exhale.
But each simple demonstration comes loaded with pitfalls if the student begins to misuse their self in the process.
In another post here I recommended a great breathing book by Barbara Conable and James Jordan.
Here I recommend you check out a blog post I wrote several months ago, and which I have updated to round out. In it I clear up some myths about use of the diaphragm on exhale, and specifically which muscles near the shoulders (actually along the neck) are engaged on inhale.
The second post below is from my other blog. In it I meditate on the beautiful cycle of breathing as I lie in bed. It's not so much about clarinet technique as learning from the natural cycle of the breath. It's a good relaxation tool.
(If anyone knows how to make these links "live" please let me know. HTML is not recognized here in these posts)
http://blog.davidhthomas.net/2009/01/breathing-naturally-comes-naturally/
http://glitteringmuse.com/2007/02/the-cycle-of-breathing/
Enjoy,
David
[ Links fixed - GBK ]
David Thomas
Principal Clarinetist
Columbus Symphony Orchestra
Blog- TheBuzzingReed.com
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Author: Earl
Date: 2009-03-15 22:35
Make them live just put < before and > after NO Spaces. See the "help/Rules" tab above.
Earl
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Author: dtclarinet ★2017
Date: 2009-03-15 23:46
Thanks!!
David Thomas
Principal Clarinetist
Columbus Symphony Orchestra
Blog- TheBuzzingReed.com
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Author: cigleris
Date: 2009-03-16 00:00
Breathing has been discussed here at some length. May I suggest having a look via the search function?
There are some very interesting posts wich might suppliment your own ideas.
Peter Cigleris
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Author: dtclarinet ★2017
Date: 2009-03-16 01:28
Of course. Apologies.
I did a search (Search Woodwind.org), and it brought up hundreds of posts with nothing to do with breathing. Any my two posts on it are not there. So it's not a very reliable tool yet.
Let me know if there is another way to search which will show relevant posts.
Thanks,
David
David Thomas
Principal Clarinetist
Columbus Symphony Orchestra
Blog- TheBuzzingReed.com
Post Edited (2009-03-16 01:32)
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Author: Tony Pay ★2017
Date: 2009-03-16 03:23
David Thomas wrote:
>> Let me know if there is another way to search which will show relevant posts.>>
You could try this for a start:
http://test.woodwind.org/clarinet/BBoard/read.html?f=20&i=714&t=714
I should say that you'll probably find yourself at odds with what is there. In particular, I use the word 'support' in a way repudiated by Arnold Jacobs.
However, I take the position that, though he was clearly a great tuba player, what Jacobs has to say to us clarinet players is too incomplete to be useful. Indeed, in his repudiation, he unfortunately dismisses what is arguably one of the most beautiful, elegant and flexible techniques in clarinet playing.
I was talking about the matter to a German cornetto player just recently. He said that although he agreed with me, Jacobs's stance had to be seen against the background of much of the brass playing current in the US at the time, which was hard-driven and aggressive. Jacobs's insistence on 'Song' as the fundamental concept worked against that trend.
Tony
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Author: dtclarinet ★2017
Date: 2009-03-16 16:33
Thank you, Tony. This gives me lots to think about. I would like to read your first article on the subject. Could you tell me where I can find a copy of your article for the British Clarinet and Saxophone Society magazine?
Since you are British, I assume (hope) you are aware of the Alexander Technique.
I am still getting the kinks (literally) out of my own "use of self", learning how not to tense neck and/or back when inhaling, supporting and playing.
Through my explorations, I have been discovering on my own that "support" on one instrument may not use the same mechanisms as on another, as you suggested in the linked thread you sent.
I began my studies of the techniques of support by seeking out those musicians who teach the Alexander Technique. So far, I have learned from a French Horn player and a singer. Though I am aware of their teachings, I have not yet studied the techniques of Jacobs or his protege Floyd Cooley.
The big question in response to what you wrote in that thread is: Which, or which ideal combination of abdominal muscles create the resistance needed to counter the diaphragm? It may depend on how you are built, as you suggested in reference to your teacher. But the coordination of those critical abdominal muscles, all 4 groups of them, is the key to consistent success.
I believe, or hope, that I can have my cake and eat it too, that I can breathe deeply (without holding the abdomen tightly on inhale), and still engage those singing muscles to support the most subtle phrasing desired. You did suggest as much, but indirectly.
I have also played around with the idea (offered by another French Horn player, not an Alexander Teacher) that practicing panting like a dog helps train the awareness of the opposing abdomen/diaphragm system. Then, by slowing down the panting, one can apply the same set of muscles to support. What do you think of this technique?
If you haven't read Barbara Conable's book, The Structures and Movement of Breathing, it's worth looking into. I have found it to be the a most helpful description of the complicated mechanisms of breathing and support.
What a pleasure it is to chat with you! Thank you for your rich insights.
Best Regards,
David
David Thomas
Principal Clarinetist
Columbus Symphony Orchestra
Blog- TheBuzzingReed.com
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Author: Tony Pay ★2017
Date: 2009-03-16 17:01
David wrote:
>> Could you tell me where I can find a copy of your article for the British Clarinet and Saxophone Society magazine?>>
It needs rewriting, really, but here's a link to a version posted on the Klarinet list:
http://test.woodwind.org/Databases/Klarinet/1999/04/000786.txt
A more extended BBoard discussion that probably covers everything -- eventually! -- is at:
http://test.woodwind.org/clarinet/BBoard/read.html?f=20&i=1132&t=1132
You say:
>> Which, or which ideal combination of abdominal muscles create the resistance needed to counter the diaphragm? It may depend on how you are built, as you suggested in reference to your teacher. But the coordination of those critical abdominal muscles, all 4 groups of them, is the key to consistent success.
>> I believe, or hope, that I can have my cake and eat it too, that I can breathe deeply (without holding the abdomen tightly on inhale), and still engage those singing muscles to support the most subtle phrasing desired.>>
See, I'd rather put it the other way around. Whatever combination of muscles you use to blow, it's easily possible for them to stay the same as you play. THEN, it's the subtle action of the diaphragm, freed to act by an intelligent body posture, that can vary its resistance in order to create the 'magic' modulation.
(A poster towards the end of the second thread above -- I think it was Dave Trowbridge -- realised how it was 'magic' rather prettily, I thought:-)
Thanks for the post. (And yes, I'm aware of the Alexander technique, and had a short course of lessons.)
Tony
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