 The Clarinet BBoard
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Author: Beth
Date: 2002-06-15 11:42
I recently began privately teaching a young clarinet student who was taught by her band director to not articulate her notes with the tongue. She was taught to use Ha Ha instead of Ta Ta/Da Da.
I've explained that the tip of the tongue will lightly touch the reed at the beginning of each tongued note. I've also explained that the air column should not be broken to articulate but instead always "behind the tongue" and only simply interrupted by the tongue stopping the vibration of the reed at the beginning of each note. I've also tried to stress the concept of thinking Ta Ta instead of Tut Tut.
She seems to have a major mindblock concerning tonguing. I thought she understood that the tongue does actually move up to the reed and then back. Come to find out, she started practicing with her tongue touching the reed at all times--quite the buzzing sensation! I continue to explain what I've just explained above, but it just doesn't seem to get through. It's been six weeks now and I see no change in her articulation.
Anyone have suggestions on how I can explain tonguing more clearly to her? Anyone know of pictures on the internet or in a book which may help her visualize tonguing? I would greatly appreciate ANY advice. Thanks in advance!
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Author: Sandra F. H.
Date: 2002-06-15 13:29
First, try it without the instrument. Have her sing "loo-loo" or "doo-doo" with her lips pursed. You will be able to see her tongue go for the open place where her lips are pursed. Then try with mouthpiece and barrel. Have her work then with one note on her clarinet. It may be best not to work on any other lesson material until the concept is grasped. Old habits may take longer to change, but it can be done. I'm working with several students now on this same issue.
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Author: Kat
Date: 2002-06-15 18:01
As an aside, I find "tee tee" a better syllable to use in general. The higher back of the tongue used for the "eee" vowel sound focuses the air better, creating a better sound.
For the problem described, I whole-heartedly agree with Sandra's suggestions. Singing a syllable will help to keep the air column from being stopped while the tonguing action happens.
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Author: Lori
Date: 2002-06-15 20:14
Beth-
One way I teach tonguing is having students do it in very slow motion.
1- Take a breath
2- Place tongue on tip of reed, closing it.
3- Blow. Nothing should come out, since the tip is closed.
4- Keep blowing and push the tongue off.
If the student is doing it right, you should be able to hear the articlulation very clearly. It will help a lot that the student will also be able to hear what it's supposed to sound like.
Good luck!
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Author: Mark Pinner
Date: 2002-06-16 00:32
Good luck. Correction of bad teaching is one of the most difficult parts of instrumental pedagogy. Try the cut of approach. Get the student to cut a long note off with the tongue. Shorten the duration of the long note and gradually put a whole lot of long notes together in a row cutting off with the tongue each time. Increase the speed gradually and you will find that the tongue ends up at the beginning of the note instead of the end. Some students never get it!
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Author: jez
Date: 2002-06-16 01:42
Beth writes; "I've explained that the tip of the tongue will lightly touch the reed at the beginning of each tongued note."
Perhaps this is where the confusion lies. The tongue touches the reed at the END of each tongued note. The note begins when the tongue is removed.
jez
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Author: joevacc
Date: 2002-06-16 15:02
Beth,
Try the "Method Of Staccato" by Daniel Bonade. It is a booklet published by Leblanc. I am not sure if it is still in print but it may be available through a university library. The exercises are simple but effective in my case.
Good Luck,
-=[Joe Vacc]=-
P.S. 6 week does not seem to be a long time to me. I have been studying hard for several years now and still have a long way to go.
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Author: Bob
Date: 2002-06-16 16:06
Which leads to the subject of "double tongueing". Anyone got any suggestions on that technique?
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Author: William
Date: 2002-06-16 16:14
Bob--try TA-KA with a slight hint of "g" on the K. It is also helpful to keep the back of your tongue arched as in a cats "hiss." This helps focus your air stream and improve your "core" sound. Keep the air support steady as you need optimum pressure for the KA sylable to sound, especially on the highest notes.
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Author: Jessica
Date: 2002-06-17 03:24
There is an article in the Spring 2002 issue of the Leblanc Bell where Julie DeRoche explains proper articulation in detail. The article can be found online at the Leblanc site at this URL:
http://www.gleblanc.com/bell/spring2002/storys/with_surprising.cfm
Best of luck!
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Author: Meri
Date: 2002-06-18 21:40
Have her listen carefully to which way her tonguing sounds better: the way her band teacher taught her, or the way you teach her. Ask her after she plays the same exercise both tonguing the way you taught her, and the way her teacher taught her.
Find some exercises, studies, and duets that sound good with proper tonguing, and horrible without proper tonguing. (The Staccato Studies section from the Langueus book part 1 may be useful) Or write your own duets. Students enjoy playing duets with their teacher, and often seem much more likely and willing to understand why: in order to sound good!
Consider spending an entire lesson on tonguing. I did with one of my students about two months ago, tonguing problems have all but disappeared. I found a good cure for tonguing problems is the following exercise:
1. On low Bb, blow into the note. (I like low Bb because it's stable for hand position and tone quality)
2. Place the tongue on the reed, and have her leave it there for a few seconds, but continuing to blow air. (there should be a slight buzzing or hissing sound)
3. Have them do this exercise several times.
Check for embouchure problems and jaw movement as well. This is most of the other half of tonguing problems.
After this exercise, I used the Langueus Staccato exercises, each time reminding her about the feeling of the tongue, keeping the cheeks flat and the chin pointed before playing each exercise. They play each exercise 4-6 times. The lesson ended with a duet that sounds very good with proper tonguing and horrible without.
A visual picture I like to use with tonguing is a line with dots at different points in the line: the line represents the moving air, and the dots represent the tongue: the idea is that the air should always continue to move while tonguing.
At least this is how I would approach it.
Meri
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Author: Bob
Date: 2002-06-19 14:54
Proper tongueing technique is one of those mysteries of life that you only understand after you discover it...
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