 The Clarinet BBoard
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Author: Eddo
Date: 2002-05-29 17:34
I'm having trouble learning stopped articulation. I tend to stop and then restart my airflow when trying to use the "tut" motion of the tongue. Essentially using short bursts of air instead of the tongue to perform the articulation. My teacher suggests letting air to leak around the lips while the tongue has the reed stopped in order to maintain the airflow. I have relative success with this in exercises but have a tough time incorporating it into playing situations.
I appreciate any advice.
Ed
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Author: Wes
Date: 2002-05-29 20:19
Many clarinet players learn to stop and start the sound with the tongue. One later learns to stop the sound with the breath, even on very short notes. The "tut" sound beloved by some band directors is not very musical sounding when a clean exposed staccato is needed on a solo. Thus, one can be careful when stopping the sound with the tongue in order not to make funny noises.
Flute and oboe players also will place a breath vibrato on some very short notes which are stopped by the breath, giving the sound a vibrancy similar to that produced by fine violinists. This can also be done on the clarinet although I've never heard it mentioned. Good luck!
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Author: HAT
Date: 2002-05-29 21:11
Sorry, Wes, but stopped articulation is a necessary and important part of the Clarinetist's vocabulary. It is possible to do it beautifully. Most great clarinet players do, in fact.
Stopped articulation is also an important part of technique in that it gives the player time to move the fingers in between the notes, but that's another issue.
Air or breath stopped notes are also important, but different and are used in different musical situations.
It is not easy to learn to do properly. The main thing is to start very very slowly. It will sound awful for a while but the effort has to start somewhere.
Best to start with one unchanging pitch. Sustain a note on that pitch for several beats and then repeat, stopping the air with the tongue while maintaining the long note feel from the air. Keep trying.
David Hattner, NYC
www.northbranchrecords.com
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Author: ken
Date: 2002-05-30 01:54
Mr. Hattner is quite correct in his assessment. As most of us know, simple association is probably the most common approach in mastering any technique. I try thinking of my belly (not diaphragm) as a balloon inflated to the point of bursting, the stem of the balloon my throat and my thumb and forefinger as my tongue rapidly pinching/releasing/pinching air from the stem. I begin very very slowly using a nome set to 1/4=52-60. On my Bb, I play open Gs in phrases of 4 measures (4/4) at a full mf. Staccato (almost choked) 1/4 notes, repeat with 1/8s then 16ths. I concentrate on pushing as hard as I can (and I mean hard) from the bottom of the belly up (some even say feet) with the tip of my tongue as the stop point while maintaining even airstream and open/loose throat. "Tut" works better for a tip-tonguer than an anchor (which I am), "Tut" is functional but for me, that configuration causes a less- controlled, spreading attack and coarser, edgy note. I prefer enunciating "doot", to my ear it promotes a rounder, more centered quality attack and note. It flattens/firms-up the chin (and those corners) and improves pitch...especially on the low end. Personally, I don't advocate leaking air from sides of the mouth unless it's minimal and expels naturally.
When I finally became proficient at stop tonguing I was amazed at how much longer I could play with one breath, the energy and life in my notes I was able to channel up and out. It definitely helps develop that quicker snake tongue as well. When mastered, the technique is light years ahead of breath attacks.
v/r KEN
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Author: Suzanne
Date: 2002-05-30 21:37
I think of the beginning of each note as legato, and the end as stopping the wind. I try not to even think "short," as it makes me want to initiate the note with a harder tongue. In a series of stopped notes, I think of "releasing" the tongue to initiate each note, rather than "starting" with the tongue, if that makes any sense at all. With my wind, in my mind, I think, nice, full, whole note.
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Author: Sandra F. H.
Date: 2002-06-04 15:44
When I teach students proper articulation, I tell them that the air stream does not stop and to maintain a long, steady stream. The reed is then stopped by the tongue simply to stop it from vibrating. We often will do exercises in breathing and stopping the airflow without the clarinet or the mouthpiece. Often children have in the summertime experienced holding a grass blade between the thumbs and blowing across it to make a reedy squeal. It is a marvelous technique to illustrate airflow and stopping the reed with the tongue. Then we approach long tones with slow, deliberate articulation. Just the "tut-tut" word in itself is misleading to a student. I like to use the word "doo-doo-doo" or "loo-loo-loo". If you try those different consonants, you will see the difference in your mouth and tongue muscle positions.
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Author: Gordon (NZ)
Date: 2002-06-05 11:19
Doo-doo-doo could be misleading to students because the letter 'D' implies that you use your vocal chords.
A 'D' WITHOUT the vocal chords becomes a 'T'.
So wouldn't 'too-too-too' would be a better concept.
All three of loo-loo, doo-doo, and too-too have the associatein ofd the tongue touching to the roof of the mouth, so they could al be somewhat misleading.
I like the concept of blowing all the time and using the tongue like a tap or thumb at the end of hose, where the water/air is still trying to get out.
Is it true that for legato tongueing the tongue touches the reed only lightly enough to stop it vibrating, wheras for more pronounced articulation the tongue is used to both stop the vibrating reed AND to press it aginst the mouthpiece to stop air flow. (I'm no expert - just asking - it seems to be what I do.)
Is the former what you are getting at when you use 'loo-loo-loo'. Why I ask is that for the letter 'L' we allow air to keep flowing all the time, unlike for 'd' or 't'.
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