 The Clarinet BBoard
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Author: Arnoldstang
Date: 2015-06-20 00:40
I have been trying a different approach to embouchure which is highlighted in the diminuendo. It is essentially forcing the mouth to open when playing. Not just setting it and locking it.
Take a softer reed than you normally play on. Use an air attack to play low C at mp level. Play a diminuendo on that note. To do this , gradually reduce air flow and balance this with trying to open the mouth while using air support. Do this until there is only air and no sound. If this occurs quickly in the dim. then use a softer reed. As I do this diminuendo I use lots of support while opening the mouth. The exercise does take effort.
This opening the mouth can be used throughout the clarinet registers and dynamic levels.
Is this real old stuff for most clarinetists? New Stuff? ridiculous stuff? Or something that will cause more fatigue?
The opening of the mouth process should be like a stretch as you are continually expanding. I think this approach would lead to using softer reeds.
Freelance woodwind performer
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Author: kdk ★2017
Date: 2015-06-20 01:10
Arnoldstang wrote:
> gradually reduce air flow and balance this
> with trying to open the mouth while using air support. Do this
> until there is only air and no sound. If this occurs quickly
> in the dim. then use a softer reed.
Or a better balanced one. This is one of my normal tests of a reed. I should be able, as you describe, to use little or no embouchure pressure and still be able to produce a tone until almost no air is flowing.
Karl
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Author: Paul Aviles
Date: 2015-06-20 17:37
I'm confused by your description of the action "opening the mouth."
Can you clarify? Do you mean "actively KEEP the embouchure open" (as opposed to pinching the reed closed)?
.............Paul Aviles
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Author: Arnoldstang
Date: 2015-06-20 21:17
I haven't described this action well. It seems it might be no more than stretching the chin flat and pulling it down. When I do the diminuendo and open I maintain pitch during the process. It also seems that I am putting more pressure with the teeth on the mouthpiece. The opening action of the mouth is done from the highest to lowest note but is highly exaggerated in very soft playing. When all is said and done this may not be an unusual way to play. It might just be I've found a way to bite less and play on slightly lighter reeds.
Freelance woodwind performer
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Author: Paul Aviles
Date: 2015-06-20 22:29
I would say that it is the "support" part that is what makes the diminuendo. I don't know of an uncomplicated way to get into this, but what you feel as support is the active use of your abdominal muscles while your diaphragm is being further engaged. You're actually pulling down at the base of your thorax with the diaphragm (as if taking in more air) to slow down the CONSTANT and ever present PUSH from your abdominal muscles (the part that you feel).
Tony Pay may have described this better in a post called something like "the magic diminuendo," or something like that. I used to take this stuff for granted but describing this to students has become important to get the proper results.
The conscious manipulation of the embouchure in this situation just begs for modulating the pitch in ways that you don't want.
What you DO want is the controlled lessing of the volume of air being used. But it as to be smooth and completely, consciously controlled. Using the muscles in opposition as described clumsily above is the only way to do it.
..............Paul Aviles
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