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Author: Andrez444
Date: 2014-08-20 15:01
I would like to get advice whether it possible to improve touching on the clarinet through any specific exercises which a player can do when they are away from the instrument. Possibly in the same way we try to improve function of the fingers for playing the piano.
Good articulation is associated with good air flow, embouchure and relaxation, so it may not be possible, though I would be very interested on peoples opinion.
Thanks in advance
Andrew
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Author: Paul Aviles
Date: 2014-08-20 17:12
Ok, with one notable area missed on the list of things NOT covered when away from the horn - coordination with the fingers:
You can fairly replicate the system for double tonguing by aiming the tip of your tongue to the very center and very bottom edge of your top teeth; with your mouth open you can practice: lightness of pressure of the tongue on the teeth (no more force that the "Ts" as you'd say the word ARTICULATE); speed of leaving the teeth and returning; speed and coordination with the "KEE" side of the house.
This will all look and sound weird to a casual observer, so don't try this at work if you need the income :-)
.............Paul Aviles
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Author: Arnoldstang
Date: 2014-08-21 20:00
I wonder if Robert Spring can demonstrate fast tonguing away from the clarinet? Could he articulate ttttttttttttttttttttttttttttttt way faster than I can without the clarinet?
Freelance woodwind performer
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Author: Paul Aviles
Date: 2014-08-21 20:18
I'm pretty sure he can. The tongue is just a group of muscles. Some of us have more fast-twitch fibers in them, some of us have more slow-twitch fibers in them. I personally can only tongue continuous 16ths at around 120 per minute in single tonguing format. There are quite a few 'standards' in the repertoire that call for much more than this (ie Beethoven's 4th, Mendelssohn's Midsummer Night's Dream, etc.) so double/triple tonguing is kinda a must for us slow pokes.
.................Paul Aviles
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Author: Claudia Zornow
Date: 2014-08-23 01:08
What exercises do people like for improving single-tonguing speed? I've been doing the David Weber exercise from the March issue of The Clarinet; are there other good ones?
Thanks,
Claudia
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Author: Arnoldstang
Date: 2014-08-23 08:13
I emailed Robert Spring regarding his tonguing. He responded. He says he problably couldn't articulate ttttttttttttttttttttttt away from the clarinet any faster that I could. Interesting...
Freelance woodwind performer
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Author: Andrez444
Date: 2014-08-23 13:45
Claudia
Could you let us know what the specific David Weber exercise is please.
There is also a very useful current post discussing co-ordination of fingers and tonuge, which is really useful and effective.
Andrew
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Author: Claudia Zornow
Date: 2014-08-23 19:33
Andrew,
It's exercise 3 on page 29 of the March 2014 issue of The Clarinet. The accompanying text says "Weber assigned this exercise printed as example 3 from Franz Klein's Staccato Studies for Clarinet, a method that is still available. This particular exercise is also included in The Vandoren Etude and Exercise Book for Clarinet but is attributed to Dan Gilbert."
The exercise starts on low E with 4 beats of repeated 16th notes. Then you play 16th notes going up the C major scale starting on low E, playing the scale up to throat F, then back down. This takes 4 beats and can optionally be repeated. Play the pattern again starting with repeated notes on low F, G, etc., up to starting on throat A. Then reverse the pattern: start on C above the staff for 4 beats of 16th notes, then play the C major scale from high C down to long B and back up; repeat the pattern starting on each lower note down to throat F, where the lowest note will again be low E.
Claudia (in Cupertino, CA -- not sure why the board shows my location in TX)
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Author: Tobin
Date: 2014-08-23 22:34
Quote:
I emailed Robert Spring regarding his tonguing. He responded. He says he problably couldn't articulate ttttttttttttttttttttttt away from the clarinet any faster that I could. Interesting...
What about the other way around? I can easily verbalize almost any articulative syllable at 140+, but I can't duplicate that with clarinet. How many of you find that you can easily tongue as fast as you can verbalize?
James
Gnothi Seauton
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Author: Arnoldstang
Date: 2014-08-23 23:33
I guess the question is whether there is connection between the two and whether you can improve tongue speed away from the clarinet. I definitely know improving your tongue speed with clarinet in hand is not an easy matter.
If we can improve it immediately with exercises away from the clarinet then let's explore this avenue.
Freelance woodwind performer
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Author: Paul Aviles
Date: 2014-08-24 00:36
As I am trying this exploration of double tonguing practice as I suggested, it becomes clear that the 'kee' at the back of the tongue has about a third less air pressure associated with it. That amazed me. I never realized this before I tried this without a clarinet. It has led me to emphasize the air pressure more with the 'KEE' than before. Taking a hint from Mr. Rusinek, I am doing this very slowly, alternating back and forth: tee KEE tee KEE so that the resultant SOUND out of the horn is even. It is making for a better "KEE" in the altissimo as well, something that I have heretofore NOT had.
I have yet to develop more speed associated with this, but if the evenness is improved I don't see why speed would not pick up as an added benefit.
.......................Paul Aviles
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Author: TomS
Date: 2014-08-24 06:07
One poster mentioned synchronization of fingers with tongue. In some passages, sometimes the tongue might be faster than the fingers!
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Use this mental exercise and say to yourself: "My tongue will move only as fast as my fingers"
This can have an immediate and magical effect.
Your fingers are your tongue's boss, in other words ...
When I get sloppy on tongued passages, I remember this mental trick,and it cleans up immediately.
Tom
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Author: seabreeze
Date: 2014-08-24 22:34
David Pino may have been on to something in his description of a method of multitonguing in The Clarinet and Clarinet Playing (Dover Press) Chapter 7, pages 95-105. But no one seems to have mentioned that Pino was interested enough in multiple tonguing to present the topic as a 122-page thesis in 1975 to the University of Texas at Austin: "Learning and Teaching on-the-Reed: Double and Triple Tonguing on the Clarinet"
Has anyone read this? Does anyone have a copy?
Post Edited (2014-08-25 02:46)
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Author: sfalexi
Date: 2014-08-26 04:49
I think Robert Spring's response could partially be because he has trained to play with the clarinet in. So his tongue would be in a different position and would be using the muscles in a different manner than without a clarinet mouthpiece/reed in.
It's always best to train with equipment if possible. Reminds me of a post Ken Shaw threw on here years ago about how he kept a mouthpiece attached to a barrel in his car and held it in his mouth driving to/from places to keep his embouchure in shape.
I also had the fortune of having attending a master class with Wycliffe Gordon who told us he used to drive his car in college to the different football games and would hold a trombone mouthpiece and just practice double and "doodle" tonguing on the ride.
I think it's best to do what you can (with regards to embouchure and articulation at least) with some sort of equipment. If not a whole clarinet, at least a mouthpiece/reed. If NOTHING is available, I don't know if I would take the risk to learn a bad habit of having my tongue in a different position, further forward, lower, etc.
Alexi
US Army Japan Band
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