 The Clarinet BBoard
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Author: Maruja
Date: 2013-02-04 16:12
I often have a little delay in the clarinet's response before an entrance. Is it a good idea to start breathing/blowing through a rest so that the note starts on time? I have been trying to do this, but of course, like all changes in technique, other things start going wrong, so I am reluctant to continue if it's not felt to be good practice...
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Author: Wes
Date: 2013-02-04 16:24
Try taking a breath on each beat of the bar before the entrance, but don't blow air into the clarinet. When you release the air at the entrance, the clarinet will immediately respond. Good luck!
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Author: kdk
Date: 2013-02-04 16:45
The general process of starting a tone is to set your embouchure, inhale, put the tongue lightly against the reed, start blowing, then withdraw the tongue to release the reed. If your embouchure isn't set ahead of time, you don't get the best response. If you don't inhale, you have nothing much to exhale, and clarinet sound requires, above else, the exhalation of air. If the air doesn't start before the reed is released, there will be a delay in the response. The air doesn't need to be going for long - an instant before the release is enough, but to practice doing it you may need to consciously start the air flow sooner.
The other reason why a note may sometimes not speak immediately is if you're tightening your embouchure as part of the process of "attacking" the note. If you're pressing too tightly against the reed with your lips/teeth as you"tongue" an attack, there will be a delay until you instinctively open your embouchure enough to let the reed vibrate. One way I've found useful to avoid this in delicate entrances is to consciously press the mouthpiece upward against my top teeth (and upper lip, since I play double-lip). It reduces the likelihood that you'll be putting enough pressure against the reed to close it.
Karl
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Author: Bennett ★2017
Date: 2013-02-04 16:57
Is it possible that you're using a too heavy-stiff reed?
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Author: rtaylor
Date: 2013-02-04 17:47
The method I use with my students is that I tell them to inhale through the clarinet especially with soft passage entrances. Keep in mind that this is not meant to replace normal inhale/exhale technic but it does help with getting over the hurdle of starting tones.
I'm not the orginator of this idea. I saw Leon Russinoff demonstrate it at one of the clarinet conventions many years ago.
He had great success with this idea and so have my students.
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Author: kdk
Date: 2013-02-04 19:04
rtaylor wrote:
> The method I use with my students is that I tell them to inhale
> through the clarinet especially with soft passage entrances.
> Keep in mind that this is not meant to replace normal
> inhale/exhale technic but it does help with getting over the
> hurdle of starting tones.
>
> I'm not the orginator of this idea. I saw Leon Russinoff
> demonstrate it at one of the clarinet conventions many years
> ago.
>
> He had great success with this idea and so have my students.
>
I didn't study with Russianoff, but I've heard this described before. Did Russianoff also suggest that the (inhalation) breath be in some kind of rhythm - one beat or a full measure or some other controlled length? Was it then to be held or be immediately followed by the beginning of the note?
Done effectively, this can accomplish two goals, I would think. First, like any kind of inhalation, it engages the breathing musculature so that it isn't starting from complete inactivity and building tension (like a baseball baserunner who takes a "walking lead" in order to keep the muscles in his legs active and ready to start running quickly). I'm always amazed at how many of my students (until I've nagged them enough), try to start playing with no preparatory breath at all. Second, unlike other ways of inhaling, it might allow the player to set the embouchure before the inhalation even starts, so that it's in position for the beginning of the note.
It might, I suspect (I've never consciously used this approach - I may try it for the next soft entrance I need to make), limit the amount of air you could inhale, at least without making some kind of unwanted sucking noise.
Still, since "this is not meant to replace normal inhale/exhale technic" being able to begin a note with a more conventional breath around the outside of the mouthpiece must at some point be part of a player's technique.
Karl
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Author: Arnoldstang
Date: 2013-02-04 21:53
There is a common technique amongst oboists. They start air flow slowly(no sound) and then attack. phu............t.......... Up close it is audible. It could be a beat up front. In particular this might be for low note attacks which are much more difficult on oboe than clarinet.
Freelance woodwind performer
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Author: sfalexi
Date: 2013-02-05 21:06
I always start the air pressure before I release the reed to sound. I want the air pressure to be at a constant velocity so the note comes out clear and doesn't warp or change as my air is getting up to speed. I don't see anything wrong with building up the backpressure of air or starting the airflow with your tongue on the reed and releasing it when you're ready for the note to sound.
It's a key part of my studies. Keep a constant air pressure and use the tongue and ONLY the tongue to stop and start and stop the sound in an even pattern by stopping the vibrations of the reed, making sure to keep the air moving at a consistent velocity.
US Army Japan Band
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Author: Chris P
Date: 2013-02-05 22:09
I do this on oboe and cor (as mentined above) but never need to on clarinet or sax.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Alexis
Date: 2013-02-06 11:53
Try to start blowing with the tongue on the reed, but only briefly.
The exact release is like driving a car. You release the clutch (tongue) as you press down the accelerator (blowing)
You could practice blowing with your tongue on the reed for longer to practice the 'release', and then reduce the time before the release
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Author: Chris P
Date: 2013-02-06 13:42
Another way to look at it is like a garden hose - if you switch the hose on from the tap, there'll be some time before the water pours out the end at full flow. Then when you switch the tap off, the flow will stop gradually instead of immediately.
Now if the hose is already on and flowing (fully primed), you can stop the water flow and release it instantly with your thumb covering the end of the hose.
Your tongue is acting like your thumb in this example by releasing the water which is already primed, just as your entire airway is pressurised (or primed) from your lungs right to your mouth to be released using your tongue like a switch or release valve against the reed.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2013-02-06 17:42)
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Author: sfalexi
Date: 2013-02-06 17:19
I've heard the water hose explanation a few times (very recently) and I LOVE that comparison. It makes a ton of sense and is great for visualizing how the airflow and tonguing interact with each other. I really need to make sure I bank that one away for future discussions. What a great metaphor.
Alexi
US Army Japan Band
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Author: Maruja
Date: 2013-02-07 15:25
Thanks for all those suggestions. I was taught at the beginning, as said, to tongue the note and then go for it. But in a recent master class given by Paul Harris, he suggested 'whooshing' down the clarinet to make the note and my present teacher does not favour excessive tonguing. I guess that you can 'whoosh' in order to start in something where it is not important when you start (ie a scale) or if you are not being accompanied and then keep the tonguing for precision work....
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Author: Chris P
Date: 2013-02-07 15:42
I can understand what he means as the air is already flowing and then it needs an extra kick to get the note sounding.
A bit like the chanter on Highland pipes (apologies for lowering the tone here!) which doesn't start even though the drones are already sounding and air is passing through the chanter reed. Then extra air pressure is applied which kick-starts the chanter reed into life which is the precise moment when we all flinch and run for cover.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Arnoldstang
Date: 2013-02-07 17:03
What you describes sounds like an "air" attack. There are times you could employ this. It is just one option. For the most part clarinetists start intial notes with air pressure right to the reed....the tongue then releases to start the note.
It is very related to how responsive your reed is. If the reed is slow to respond it will require more from the clarinetist. Even an air attack should be precise if you have good reed response.
If you are having trouble with starting the phrase precisely when you want then you should make sure...1. your reed is responsive 2. your technique for starting the first note is good.
Having air pressure right up to the reed before you start doesn't mean you will have an explosive attack. Your tongue will be on the reed which stops it vibrating....apply a small amount of air pressure to this....still no sound.... release the tongue or pull it away. Practice the attack until you have it start smoothly. Try lower register notes first and then higher ones. The more air pressure you start with the more explosive the attack will be.
Regarding responsive reeds.... one simple way of achieving this is with the Ridenour ATG reed adjusting tool. One other way is to try different reeds....even if they are the same number.... you can also raise or lower the reed on the mouthpiece to alter response.
Freelance woodwind performer
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