 The Clarinet BBoard
|
Author: oca
Date: 2012-01-03 22:43
What I mean specifically is the subtle undertone each time I tongue a note. Although negligible most of the time, the effect can be exaggerated and revealed in short, repetitive staccato/accent/marcato passages.
How can you stop this from happening?
Is it the clarinet's fault or the player?
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2012-01-03 23:48
My guess would be that the air stream is not going as you touch the reed.
Try playing an open G. As you blow, have your tongue poised close to the reed. Now just gently and ever so quickly tap the reed with your tongue as you continue to blow the open G. I don't think you should have the effect to which you refer this way. If not, just replicate this feel every time you articulate.
Another approach that may help isolate tonguing for you is the Bonade syncro staccato (this suggested practice technique always meets with a healthy skepticism from many of you). Start with the tongue ON the reed and build up the air pressure behind it. Quickly release the tongue and reapply to the reed - you get the sound "Tut." In syncro-staccato you move your fingers from the note you are on to the next note IN BETWEEN THE 'Tuts.' So it's "Tut - move- Tut - move Tut ...... etc." This will isolate the fingers FROM the articulation adding further emphasis to the articulation itself. This technique was used by Bonade to develop a clear, bell like staccato.
.....................Paul Aviles
|
|
Reply To Message
|
|
Author: Buster
Date: 2012-01-04 23:37
oca,
In which register/harmonic is this occurring?
-Jason
|
|
Reply To Message
|
|
Author: Buster
Date: 2012-01-04 23:42
Paul,
For my part, I don't discount that method of articulation/staccato, and 'prepared fingers'; nor do I view it with skepticism as I still use it.
I would simply say that we need to present the other options as well, and let the reader chose which is most apt for each individual situation or passage.
-Just as a 'for instance': if a student comes in with a fine, clear staccato but has trouble with 'the grunt' around A5 and above, then perhaps we need to look elsewhere than simply the motion of the forward portion of the tongue.
Having the student start the note with the air and end with the tongue can be an invaluable tool.
*For clarity, I don't mean to say that the air is 'pushed' at the start of each note; or-- 'hut' 'hut 'hut'
Rather it is released from the constantly-flexed ab-system w/a slight diaphragm relaxation;-- 'ut 'ut 'ut'; no pulsation in the abdomen at all.
Once each note is immediately established with the air, and terminated with the tongue, we can move on to incorporating the tongue at the beginning of the note- simply as another tool to have at our disposal.
I have used this 'ut' 'ut' 'ut' articulation with much success... the infamous A5's in Beethoven's 7th; the D6-C#6-D6 in Brahms 3rd-1st mvmt. in a very sensitive acoustic. etc... Conversely, I have used a prepared staccato when called for... all depending on the selection/acoustic at hand.
There is one aspect I think we need realize; one that I personally have not seen addressed here on the BBoard: We need to be aware that establishing air-pressure behind the tongue for a long period, awaiting an entrance, can spell death for the counter-productive tension it can produce. This can particularly occur in an overly-zealous student wishing to follow our every word to the nth degree. ...and leave a teacher wondering "Why isn't this working?"
-Jason
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
