Author: Tony Pay ★2017
Date: 2017-06-05 00:50
Karl Krelove wrote:
>> Interesting - you're right that I tend to think of support, used in the context of clarinet (or wind instrument) technique, as the deliberate use of the abdominal muscles to strengthen and homogenize the air supply that produces tone. I suppose I consider the other half - "you just blow" - to be something we do naturally without much if any thought and, so, not needing instruction or description. >>
So, let me say this again, because I haven't got it over to you yet:
The 'other half' of support isn't "you just blow". The other half of support is the diaphragmatic resistance that the abdominal muscles blow AGAINST. That obviously reduces the strength of the effect of the abdominal muscles – that's why I say, "playing with support means, playing quieter than you're blowing" – but there are all sorts of advantages.
When I first posted about this, Liquorice, a highly able working professional clarinettist said, in the Keepers thread entitled 'Support' which might be worth looking at:Quote:
I've waited a while before responding to this post, because I had to think long and hard about what Tony was saying. At first it ddn't really make sense to me, but after some attempts at the various things that he is describing, I realise that it is in fact EXACTLY what I am doing. I've never fully understood the anatomy of the opposition between diaphragm and abdominal muscles, although I did have a sense that that is in fact what is going on. Thank you Tony for giving an explanation of "blowing the clarinet" that for me finally makes sense. ...and that description of his experience mirrors my own experience when I stumbled over the explanation myself.
>> I do include in my post the idea that "support" (of the abdominal muscular variety) is a tool that isn't always needed. >>
So, what I'm saying is rather: that support of the DIAPHRAGMATIC OPPOSITION variety is a tool that isn't always needed. That's true even though I myself, and others, very very often use it.
>> I suppose in my teaching I tend to look for the simplest explanation that a student's level of skill demands. More complete a description of any process than necessary to solve an immediate problem risks eye rolls and distracted glances around the room as the student who asked about (or couldn't do) A waits for me to finish talking about B, C, C prime and D so he can get on with his playing. As a private studio teacher and, certainly, as a school music teacher teaching 4 to 8 young students at a time, I've become conditioned to limit my response to what was asked or required to solve a specific problem. And so, when I write here, I guess I tend to do the same thing. >>
As Sarah Elbaz reported here once, it's quite easy for even young students to catch on to the idea of the 'magic diminuendo'. Unfortunately, older students who are in difficulties can find it difficult to let go of the often erroneous ideas that are blocking their appreciation of it.
>> As I implied (actually, I was more explicit than that) twice - once in my first post and once again in my response to yours - without knowing what the OP really wanted to know, it's a little difficult to tailor an answer that he might find useful without going into details that may be several steps beyond his immediate interest. >>
The OP said he wanted "...to improve my air support and get accustomed to it... I think this is the biggest weakness in my playing."
My feeling is that the first step should be to identify what support actually is ('blowing louder than you're playing, and the magic diminuendo"). And, I think it's more fundamental than anything else. Kids don't need to UNDERSTAND it; they just need to get used to it.
In my own experience, I sometimes can considerably improve my results by asking myself, would it be a good idea to try using more support than I currently am (blowing harder but keeping the same dynamic)?
And I can do this because I know what I'm telling myself; it makes sense, just as Liquorice came to see.
Thanks for your posts, Karl.
Tony
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