 The Clarinet BBoard
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Author: TheAlphaPawn
Date: 2015-12-20 04:56
A little background information:
I've been playing clarinet for a while so I know most of the fundamentals except one core principle. I can't articulate. When I started playing, I would use my throat to articulate by controlling my air stream and I thought it was fine since my directors was okay with my playing. However, I'm in my junior year of high school and now realize how terrible it was that I didn't seek help earlier. I've been practicing on my own for a bit but I can't seem to be making any progress. So now i'm asking for help. (Better late than never right?) Please suggest any exercises or anything that can help me!!! Thanks
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Author: maxopf
Date: 2015-12-20 05:26
Here's an exercise that I've heard suggested in a few different places:
Start by simply passing a constant stream of air through the instrument on an open G, keeping the tip of the tongue close to the tip of the reed. Now, while still applying the same air pressure, simply advance your tongue so that it stops the reed's vibration. No change in air pressure — you should feel backpressure, since you're trying to breathe out but the reed is shut. Hold the tongue in place for a second, then release it. The built-up air should then flow through the instrument again. Repeat this slowly until you're used to keeping constant air pressure and merely interrupting the flow with the tip of your tongue.
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Author: Paul Aviles
Date: 2015-12-20 05:39
So, the basic idea of tonguing (we are speaking of a succession of notes one after the other) is that you stop the present note by "placing" the tongue upon the reed (the best imagery here is to use the tip of the tongue upon the tip of the reed - you should feel the edge of the reed with the tip of your tongue). Within the momentary silence the only thing stopping the sound is the fact that you have your tongue upon the reed. Initiating the sound of the next note is caused by releasing the tongue from the reed. The "attack" is therefore just the release of the tongue, NOT a striking of the reed (there is never any "striking" involved).
To begin to learn proper tonguing, you must start very slowly. I think the best thing to do is to just start a note with the breath, then slowly bring the tip of your tongue closer and closer to the tip of the reed until it stops the sound (You will feel the buzzing against your tongue and this may initially be bothersome. After a week or so you will get used to it to the point where it will no longer be a problem.). Remember you continue to push your air as if there is sound but at this point there isn't. Now remove the tongue quickly off the reed for the next note (you only want the tongue to be at enough distance to allow the reed to vibrate freely).
Remember the main action is AWAY from the reed (to produce sound) and to stop the sound you merely "place" the tongue on the reed.
Say the word "articulate" to yourself. You only need put as much force upon the reed as you use to make the "T" sound in the word articulate.
......................Paul Aviles
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Author: maxopf
Date: 2015-12-20 05:45
https://www.youtube.com/watch?v=4ytdtPIdmG0
This is a good explanation/demonstration.
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Author: nellsonic
Date: 2015-12-20 05:59
Here's an exercise that works together well with what Max suggested:
1) Sing "Tee-tee-tee-tee-teeeeee". Four eighth notes and a quarter note at a moderate tempo. Do this without the clarinet, but with your embouchure formed. Be sure that the sound never stops from beginning to end. The tongue is just lightly tapping on what is essentially a dotted half note.
2) Do the same thing with air only. The air never stops from beginning to end and you should hear and feel a continuous flow.
3) Same thing with air only on the clarinet. Now the tongue is touching the reed rather than the roof of your mouth. Ideally it is the tip of the tongue touching just below the tip of the reed. Keep the embouchure relaxed enough so that an actual note does not start. Listen for the continuous airstream.
4) Firm up the embouchure and produce an actual tone using the same mechanics as above. Open G is good to start with. Listen carefully for a consistency, clarity, and lightness. Repeat until habitual.
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Author: kdk ★2017
Date: 2015-12-20 08:52
Paul Aviles wrote:
> To begin to learn proper tonguing, you must start very slowly.
> I think the best thing to do is to just start a note with the
> breath, then slowly bring the tip of your tongue closer and
> closer to the tip of the reed until it stops the sound (You
> will feel the buzzing against your tongue and this may
> initially be bothersome. After a week or so you will get used
> to it to the point where it will no longer be a problem.).
Do you think we just get used to this, or is it that we get to know from habit where the contact point is without having to do as much searching? It's a little, I think, like learning to drive a manual transmission - you begin by letting the clutch pedal out very slowly to avoid the lurch when you let it out too fast. After awhile, the clutch pedal becomes second nature and you waste much less time easing it out - you just get to know where your clutch engages without lurching.
Karl
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Author: Paul Aviles
Date: 2015-12-20 16:25
Dear Karl,
What I specifically refer to is the weird "buzzing sensation" against the tip of the tongue. One responder above just said, "the tip of the tongue touching just below the tip of the reed." This is INCORRECT. If one is used to that approach (say for years of playing) and then attempts the CORRECT posture of placing the tongue directly upon where the reed is vibrating, it can almost be startling (and it certainly is a bit annoying at first!).
The reason I don't like the transmission analogy is that one might think that I am just talking about the difficulty of re-learning a process.
I actually mean a physical sensation.
.................Paul Aviles
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Author: Tobin
Date: 2015-12-20 17:09
Alpha, you have a lot of solid advice provided above.
Quote:
You will feel the buzzing against your tongue and this may initially be bothersome. After a week or so you will get used to it to the point where it will no longer be a problem.
I think Paul's point here is a great one: I find that the buzzing sensation at the tip of the tongue is significant reason why many people, in a classroom setting, find alternative methods of "tonguing" as you did.
When I'm helping students adjust their tonguing fundamentals it often becomes apparent that this sensation is as strong as giving your funny-bone a really good whack. As uncomfortable as it is for some people, during the 5-14 days that a student feels it they will know they are in the right place.
You appear very eager to make this adjustment and move forward. Your enthusiasm is great. Speed your transition by getting a private teacher immediately. Be specific with them about your goals, and be clear with the teacher if the lesson's only goal is to address this problem.
Good luck!
James
Gnothi Seauton
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Author: kdk ★2017
Date: 2015-12-20 18:52
I think I know exactly what you meant, and it's true - touching the tip of the reed lightly can cause an annoying tickle as you approach contact. You don't even need to feel it yourself - I hear that buzz when I have a student begin to try to tongue at the reed tip. They invariably - necessarily - approach slowly enough to stop the reed only by degrees. Sooner or later, that approach has to become quicker and less cautious - the reed has to stop completely and, to the ear, all at once because you can't have a buzzing sound on each articulation in actual playing.
The hard thing for many students, especially ones who have been "attacking" with their tongues, is getting them to release the reed without pressing first. There are a lot of ways to color the release for musical effect, but the one that needs to be learned first, as you've said, is to start the sound by releasing the reed and stop the sound by quickly stopping the reed - which is most cleanly done at the tip. In that overall view, I didn't intend to disagree at all.
As for the analogy, we all have our own personal witchcraft.
Karl
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Author: Paul Aviles
Date: 2015-12-20 19:21
well......
And further I say the QUICKNESS need to be AWAY from the reed. If the mental emphasis is on a QUICK release, rather than a quick approach, the tonguing mechanics will be CORRECT.
You don't "hear the buzzing"............you feel it (and only until you're used to it).
.................Paul Aviles
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Author: rmk54
Date: 2015-12-20 19:31
If you think that anyone can learn how to correctly articulate just by reading, you are sadly mistaken.
Get some private lessons with a competent teacher.
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Author: Tobin
Date: 2015-12-20 19:39
Quote:
I hear that buzz when I have a student begin to try to tongue at the reed tip. They invariably - necessarily - approach slowly enough to stop the reed only by degrees.
Quote:
You don't "hear the buzzing"............you feel it (and only until you're used to it).
Karl is describing the situation where the tongue touches the reed enough to "fuzz" the sound without stopping the vibration.
James
Gnothi Seauton
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Author: nellsonic
Date: 2015-12-20 21:21
Just to clarify, when I said that the tip of the tongue should make contact with the reed just below the tip of the reed I meant that the tongue should not be inserted into the space between the reed and mouthpiece. Yes, one should certainly be feeling the edge of the reed with the tongue, and that is important to say - but the angle of approach is important as well.
As someone else said, learning to tongue by reading about it is not the best approach. Having a teacher sitting next to you modelling proper articulation and giving you feedback is far more effective. It is the SOUND and feel of correct articulation that must be internalized to get good results.
Anders
Post Edited (2015-12-20 21:57)
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Author: ClarinetRobt
Date: 2015-12-21 21:19
To expand on Paul's "emphasis on a quick release"...I like to think of the reed as a 'hot potato'...tap it and get the hell away from it.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: kdk ★2017
Date: 2015-12-21 23:40
ClarinetRobt wrote:
> To expand on Paul's "emphasis on a quick release"...I like to
> think of the reed as a 'hot potato'...tap it and get the hell
> away from it.
>
Paul will have to react to whether or not that's what he meant, but to me "quick release" is not synonymous with "tap it and get the hell away from it." The way you control the length of a staccato note is by holding the reed - stopping it from vibrating - for a short or longer time. If you want very secco staccato with, by implication, a lot of space between notes, you can't "tap it and get away from it," you have to stop the reed after a short duration and stay in contact with it until it's time to release the next note. If you want very long, barely separated articulation, you would do exactly as you describe. There are nearly infinite variations in between, depending on the tempo, all depending on how long you hold the reed still.
It is true that when you release the reed, it has to be done quickly - all at once - and not lazily or sluggishly.
Karl
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