Author: seabreeze
Date: 2020-07-15 05:10
Donald is certainly right that intervals of this sort from throat to clarion across the "break" can be smoothed out satisfactorily with the right kind of diligent practice. I would suggest starting with a simpler model at first. Don't just practice legato slurring from throat Bb to C; that would be an exercise in repeated frustration. You need to find a template or model "benchmark" that you can copy for smoothness and evenness. So try legato Bb to B, Bb to C#, Bb to D; also throat A to C, B, and C#, and throat Ab to B, C and C#. Do some of these intervals sound smooth and even? Select the ones that do and alternate them with the challenging Bb to C. Use the smooth ones as a model to copy by trying to get the Bb to C to match them in ease of emission. Work to make the bad interval slowly begin to approach the good ones in overall sound. If for instance, the Ab to C sounds smoother than the Bb to C, say to yourself "ok, guy (Bb to C), you're going to fall in line and sound just like the Ab to C interval." By setting your goal so concretely and definitely, you will have a narrow and effective target in your ear, breath and fingers to work toward. In music, a very concrete goal and standard beats out a vague and general one every time!
Also, just because your final goal is to smooth out a legato connection doesn't mean that you have to practice the intervals legato all the time. You can articulate them as well to give yourself a different perspective on exactly what the problem is. Is it finger control, breath support or something else. Practicing staccato can sometimes paradoxically clear the way for practicing legato. An example would be those scales in intervals studies in the Baermann III. Many players who find them next to impossible are surprised to learn that after a few weeks of playing them staccato, the fingers suddenly know how to play them legato as well.
Post Edited (2020-07-15 08:17)
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The Clarinet BBoard
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