 The Clarinet BBoard
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Author: OmarHo
Date: 2009-08-31 21:52
Hi folks,
Like most people, I'm predominantly right handed, so my left hand usually is a little sluggish and have a tricky time getting around the throat tones (G#, A, Bb) at times.
I've tried the left hand exercises in the Jeanjean Vade Mecum, and a few others in the Melodious and Progressive studies bk.2. Perhaps I'm impatient, but I didn't notice a huge difference in my development, and have been trying to keep my fingers relaxed and close to the keys (using Ridenours touch point system).
So I tried something creative, and I thought the best way to get around it is to just become ambidextrous. I've been writing a few paragraphs every day with my left hand for about 3-4 weeks, and I have to say this has been the quickest and most successful way to strengthen the left hand than any clarinet etude/exercise that I've ever done.
So I'm wondering if anyone else has tried any similar ways of gaining better control of the left hand, with or without the clarinet.
Thanks a lot.
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Author: FDF
Date: 2009-08-31 23:07
What you are doing is very good. My suggestions are learn piano and/or use a rubber ball or other strength building exerciser for your left hand.
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Author: OmarHo
Date: 2009-08-31 23:31
Thanks for your reply. I actually do play piano, but not at a high enough level that the left hand gets much exercise. Maybe I should do some Hanon from now on...
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Author: Ken Shaw ★2017
Date: 2009-08-31 23:48
There are three excellent left hand exercises in book 3 of the Langenus Method. They take up only a single page, but they give your left hand a real workout, running through almost every possible interval and sequence.
Strength, though, is not what you're after. You want lightness and flexibility.
Work on a measure or two until you have it memorized and then play it in front of a mirror. Use a metronome and go very slow. Make your movements as light and small as possible, keeping your wrist and palm nearly motionless and your fingers close to the holes and keys. Relax your left hand and just "nudge" the A and Ab keys rather than rolling your hand up or from side to side. Imagine that someone is watching you closely, and you're trying to make your movements invisible to that person.
Watch Stanley Drucker's YouTube performance of the Weber Concertino at http://www.youtube.com/watch?v=SR9oxnm66bY. His left hand fingers barely move as he plays the throat tones in the fast section at the end.
Ken Shaw
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Author: skygardener
Date: 2009-09-01 01:41
I have one rule that helps me around the throat tone. Very simple- When you push the A key to play A or Bb always depress the A and G# keys. When you go from G# to A (or Bb) always maintain contact with the G# key and only move the tip of the finger to push the A key.
Generally, I find people with problems in the throat area (myself included) to have developed the habit of swinging the whole hand when they go from G# to A and losing contact with the G# key.
Further, many clarinets have the spring on the A key far too stiff to be comfortable. Also, the angle/placement on the A and G# keys can be adjusted a little.
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Author: OmarHo
Date: 2009-09-01 03:37
Thanks for the advice.
It still amazes me though how some professionals can manage to attain technical perfection with fingers (including pinkys) flying all over the place and throwing their wrists up and down.
This is an example of what I mean (Borodin Polovtsian dances):
http://www.youtube.com/watch?v=yUKby0sYmf4&feature=related
The principal player in this video isn't that bad though, it can be a lot worse.
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Author: Ken Shaw ★2017
Date: 2009-09-01 13:13
I just watched the Borodin -- a really excellent performance by the orchestra and the principal clarinetist. I didn't see him throwing around his fingers and wrists at all. He moved his body a lot during the opening solo beginning at 0:22 and the famous audition solo beginning at 5:15, but his shoulders, wrists and clarinet moved as a unit, staying in the same position relative to one another.
In particular, watch the three important things he did right: (1) he moved his fingers entirely from the knuckles, with no curving and uncurving of the other two joints; (2) his fingertips stayed close to the holes and keys and moved only up and down, with no twisting or sideward motion, and (3) in the difficult sequence over throat Ab and Bb in the second solo, he stopped swaying and kept his body, hands and fingers very quiet, barely moving his left index finger.
Ken Shaw
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Author: Paul Aviles
Date: 2009-09-01 13:49
Dear OmarHo,
Actually there was no movement of the wrists relative to the clarinet in space........as it should be.
Whatever you do with your left hand position, it should be the same for ALL KEYS (CMaj, AbMaj, G#min etc.) and all possible note combination in all octaves.
I have been concentrating on the quirkiness of the left hand for the last few years and have the following comments:
I approach the clarinet with the fingers perpendicular to the length of the horn. This allows the most natural up and down movement as well as most natural movement up to the "A" key and (for example) the best movement of the index finger from the "F#" to the "G#." One note is that the pinky becomes a little crowded between the middle finger and the keys it needs to operate and the pinky becomes more curved, even curled.
I throw this out there only for your consideration.
Now here is where it gets weird.
I've broken down as many combinations as I can and practice them with horn together, just the top joint, or just sitting around.
There is the index finger in oppostion to the thumb - Such as "F" to "F#" or "F" to "A." This wobble is done with NO MOVEMENT OF THE WRIST and is more common than one would think.
Another is the movement one gets when moving from "D" to "A." this is three things gong on simultaneously - Index finger moves sideways to the "A" key, the middle finger goes straight up and the thumb moves away from the horn (again, all at once).
Similar but almost the opposite is the movement from open "F#" to "Bb" - the thumb moves TOWARD the clarinet as the index finger moves laterally to the "A" key.
OR "D" to "Bb" - similar to the two above but the thumb must trigger the octave key and yet clear the thumb hole.
FINALLY, in addition to the above movements of the index finger (so far, up and down; sideways....to the "A" key and off) there is the "G#" key movement which I equate to the "pointing gesture" (finger tip draws back toward palm and back out). If you really think about it, moving from "F#" to "G#" can only be accomplished with this movement.
SOOOOOOOO...........
Practice these or come up with something similar on your own.
...................sorry for the over analyzation,
.................................................Paul Aviles
Post Edited (2009-09-01 15:13)
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Author: OmarHo
Date: 2009-09-01 20:36
Thanks for all your advice.
I've definitely noticed a difference in the overall relaxation and lightness of my left hand keeping the wrist motioness (no rotating). Paul, I'll try those exercises.
Sorry, you're right, in the video his hand position is very good now that I think about it.
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