 The Clarinet BBoard
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Author: Don
Date: 2002-07-27 20:20
how exactly are you supposed to lip slur, gliss, and vibrato on clarinet?
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Author: John Gibson
Date: 2002-07-27 22:06
Sorry for the previous post Don, but I couldn't help it....
All you need to do is practice. The gliss can be accomplished by tightening the lower lip in step with the lifting of each finger.
No formula. Just start the note (say middle C) with a loose embouchure and as you progress up the scale you tighten your "grip"
on the mouthpiece. I can gliss the middle register pretty well....
but have not been able to master the lower....
Vibrato is a matter of lipping as well.....
I also "growl" on certain songs....especially New Orleans sounding stuff. Thats a matter of getting your uvula moving as you're blowing to produce a sort of underwater sound. You can also pull your tongue away from the mouthpiece and flutter it for a growling sound....
Soon as I get a chance I'll send you an MP3 of what it sounds like.
John
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Author: Mark Charette
Date: 2002-07-27 22:59
John Gibson wrote:
> Vibrato is a matter of lipping as well.....
One of the ways ...
There's an article in the Study section by Jonathan Cohler that is good reading.
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Author: William
Date: 2002-07-27 23:37
The easiest way to learn to lip gliss is to start high and go downward. Play an above the staff C and loosen your embouchure until the pitch goes down. When you reach a "low point" (quality of sound is not important here), then gradually tighten and allow the pitch to rise back up to C. Next, try lipping down again, but this time gradually adding fingers to lower the sound even further before you lip up again. Before long, you will be able to "lip down" to third space C and third line B. Next step is to start on the third line B or space C, and gradually take fingers away, in a scalewise fashion, and see high high you can make the gliss go. On a good reed day, I can gliss from third line B all the way to double high C by "half fingering" notes along the way. Glissing in the lower register is more of a challenge and requires more acute finger control. For the Rhapsody in Blue gliss, most players play a rapid, rather "sleezy" diatonic scale from the low G up to the third line B and then do the true gliss from there to the high C. The effect is remarkable when done well.
Vibrato--simply move your lower jaw down and up. Or for a more subtil effect, up loosen and retighten your lips. Some of the old jazzers shake their right or left hand causing the instrument to move in the embouchure, causing a vibrato.
Growling--think of gargling some liquid while you play. Probably invented by accident as some musician was inadvertantly choking on a beer while trying to play.
After mastering gliss, growling and vibrato, then go for "ghost notes"--notes that are sensed rather than being clearly heard. Use half fingerings so that the note is "there"--but not really.
Have fun "out there" there--I mean, like, way out, man!!!!
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Author: John Gibson
Date: 2002-07-28 02:57
William
You're a real gone cat....like daddy I mean you shake the trees.
Gibson
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Author: Don
Date: 2002-07-28 03:07
haha, hey smoke and mirrors just make tha show even betta! hey, thanks for the help, I've been messing with the tricks..I can't get the growl...I can vibrato sporatically and I can gliss sorta...I can see it's gonna take some time to get these tricks to performance level..hey, it's gonna be fun in tha process!
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Author: ken
Date: 2002-07-28 17:36
Here's a basic exercise I developed to alter pitch and improve embouchure flexibility. I'd recommend using a nome and set it on automatic pitch at about 54 to the half. Play the mouthpiece only, take a full breath and blow a straight tone maintaining air stream and steady pitch. Two individualized methods: (pick the one that's best) 1) Drop the jaw, drawing it straight down, or 2) Pull it straight back and slightly upwards toward the ear lobes. Start by playing whole notes in common time descending in 1/2 steps chromatically then back up to the root (e.g. g/gb, g/f, g/e...etc down a full octave). If 1/2 steps are easy, widen the interval to whole steps. Make the sounds eeeeeeee--aaaaaaa--awwwwww when descending and coming back up, pitch will inherently lower. The farther you descend the more the support required. Watch the nome and be certain to play notes "in tune" and zero-out, think round; you must play real notes no matter how bad they sound. Speed up the nome when becoming more proficient. The object is to smear "down and up" as far as possible and eventually as quickly in 16ths achieving a full octave or even more.
I'd invest only 5 minutes a day on it and "not cold" but at the end of practice sessions. Do the exercise 5 days a week for at least 2 months; you should be well on your way to a nice, round, full and tightly controlled vibrato. To reward yourself, pull up "Rhapsody in Blue" and see how much smoother and connected it can be played; the solo can be used as a daily exercise as well. Take your piece with you and do it anywhere. v/r KEN
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