 The Clarinet BBoard
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Author: crvsp
Date: 2021-01-23 21:52
Hi all,
This thought came up to me when I was practicing large slurred intervals (i.e altissimo G to clarion G). My teacher had always put emphasis on having no visible movement of the throat when I was playing, but that was when I was still a beginner and working on articulation, so I was thinking it might've been to emphasize small tongue movement rather than voicing movement.
And so my main thought is if throat movement that is made in order to change voicing for large intervals something that is good? I think a good example of this would be Nicholas Baldeyrou; I notice that over large intervals he does have some of this movement.
I experimented a little and dramatically changing my voicing allowed me to connect intervals a little smoother, but at the "price" of having visible throat movement. Any thoughts on this matter?
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Author: JTJC
Date: 2021-01-23 23:16
Given the contortions we witness with great players I wouldn’t worry about it. For each person it will be different, some more, some less. If it bothers you (which it shouldn’t, because you can’t see i5) wear a polo neck and do what works.
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Author: kdk
Date: 2021-01-24 00:29
crvsp wrote:
> And so my main thought is if throat movement that is made in
> order to change voicing for large intervals something that is
> good?
Does it help improve the connections? Does the improvement come at a destructive cost in some other area of your playing?
If the answers are "yes" and "no" then it's hard to see what would be wrong with it.
You need to have a degree of stability in your general approach to playing. But if a specific problem is solved by a specific solution that doesn't break something else in the process, you don't really need anyone's permission.
Karl
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Author: Tom H
Date: 2021-01-24 06:18
I've never heard of throat movement. Including from the 4 teachers I studied with.
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Author: Paul Aviles
Date: 2021-01-24 06:49
I've come to the conclusion that what is at issue as far as meaningful adjustments for various registers (or note to note connection) revolves around air pressure, or rather, air speed. The smaller the chamber for the same volume of air, the greater the pressure or faster the air speed. And the larger the chamber the lesser the pressure or air speed. [Sorry, I never finished this thought] Therefore, one can change tongue shape and position to decrease or increase the volume of the oral cavity facilitating these meaningful adjustments.
Personally I prefer to make changes at the belly.........hence no change in oral shape or size (or movement in throat..........or rather back of the tongue).
.................Paul Aviles
Post Edited (2021-01-24 17:07)
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Author: Neckstrap
Date: 2021-01-24 08:47
Just some thoughts-
I find optimal voicing through different registers by doing bugle calls (splitting a notes harmonic series up without the help of a register key). I find that the most efficient way do this is to precisely and minimally move several things at once (tongue arch angle, throat -which I believe is only a product of the back of the tongue moving-, soft pallet, and probably a ton of other stuff). I find this the easiest way to play stuff like the opening of Hommage a Paganini.
For those of you who don't move their throats or back of tongues, are you able to do bugle calls/harmonic series? What are you doing to make series to come out?
Thanks!
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Author: Paul Aviles
Date: 2021-01-24 14:53
Yup
Quick changes in more or less force of air using abdominal muscles (diaphragm in opposition is part and parcel.........isometrics are involved).
..............Paul Aviles
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Author: JTJC
Date: 2021-01-24 16:57
I took csvrp’s throat movement to be a result of rear-tongue movements get the harmonics. The extent to which that is visible externally will vary between individuals, so perhaps with OP. Great players seem to move bits of their faces/throats in many different ways personal to them, which, going by the results, must work for them.
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Author: Ed Palanker
Date: 2021-01-24 18:01
I know this statement is simplistic but do what works. If you can learn a better or easier why then adopt that way. I've heard so many people say never do this, never do that, and then see and hear some great players doing this or that.
ESP eddiesclarinet.com
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Author: Robert N.
Date: 2021-01-25 20:16
Kornel Wolak has book called Embouchure Drills where he does talk a bit about throat movement.
You can see him talking about it with Michelle Anderson in this video. You can skip to the 1:07:00 mark to see the relevant part, though the whole video seems quite interesting.
https://www.clarinetmastery.com/replay-clarinet-embouchure-drills
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