Author: Liam Murphy
Date: 2009-04-10 10:16
Thanks for the replies so far,
I have a few comments.
Skygardener said:
>>>Long tones are not everything, but they are not worthless either<<<
I acknowledged the relatively minimal benefits of including long tones on one's regular practice regimen in my first post. For a half decent player, however, I think the practice of long tones is, at least superficially, pretty close to worthless.
I just had a family discussion for which the practice of long tones was the catalyst. Among other benefits suggested by members of my family were the meditative qualities of practicing long tones. I don't think that practice should ever be meditative. Rather, I think of practice as a session of intense concentration. Thus, I am still at a loss as to why one could so confidently contend that long tones have ANY place in a person's regular practice regimen.
Skygardener asked:
>>>is it [your sustained note] totally even from start to finish? Even if there is a change in tone, is it a smooth change or is the sound unstable or 'shaky'? How do your lips feel after 15 seconds on one note? I assume they feel a bit more tired than they do when you run up and down a scale for 15 seconds<<<
My answers were: Yes, No, Fine, and Nope. Should I still practice long tones?
Skygardener said:
>>>Long tones are O N E (and only 1) of many good things to practice. <<<
I disagree. Long tones serve only indicate whether or not a player can achieve the following:
- Play ONE NOTE in tune
- Play ONE NOTE with consistent tone
- Play ONE NOTE for ages without getting tired
This is all fine. Clearly it has some benefit. Why would almost all beginner wind instrument books (e.g. Essential Elements: Clarinet) include sections on long tones if its practice had no purpose? My answer: because the exercise is suited to beginners. The exercise is warranted because a beginner may not be capable of achieving multiple musical goals. Anyone more than a beginner, however, should be striving to create music, which is, as GBK points out:
>>>the connections of notes at different speeds, not just one sustained note<<<
GBK has isolated one important element of music which is both worth improving and absent from the practice of long tones: rhythm. Clearly, though, there are more. The (possibly slow) practice of scales or music will indicate whether or not a player can:
- Play notes in tune
- Play notes with consistent tone
- Play notes without fatigue adversely affecting performance
- Play notes with consistent rhythm
- Play notes with appropriately varying, or consistent dynamics
- Play notes with appropriate phrasing
- Play notes with appropriate articulation.
Obviously, there are more to list, however my point is illustrated.
As with most matters with regard to clarinet playing, I am willing to concede that what works for me may not work for others. So don't think that I would be arrogant enough to command that everyone should cease to practice long tones.
- Liam
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