 The Clarinet BBoard
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Author: Bubalooy
Date: 2007-07-06 20:43
Ok I know that for some of you this is sacrilege but I've read on a number of threads that you should start your practice everyday with long tones, and I ask the question why? Isn't playing a scale just moving your fingers while you play a long tone? I'm not saying you shouldn't practice at slow tempos, but long tones are boring and I'm not sure that they accomplish any more than practicing scales at slow tempos, so you can really listen to the sound quality and try to maintain it consistantly through the entire range of the instrument.
Alright, I'm ready for the barrage.
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Author: Tobin
Date: 2007-07-06 20:57
If you already have control of the beginnings and endings of your notes, and you have no question about producing the sound you wish to give everyone...then maybe they aren't for you (anymore).
James
Gnothi Seauton
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Author: Ed
Date: 2007-07-06 21:01
My feeling about long tones is that you are concentrating on one thing--tone. When playing scales you have many other things to be concentrating on. In addition, in playing scales, intervals, arpeggios, often some of the issues present in tone can slip by. Long tones can be "spiced up" by doing dynamics within them as well as doing them with a tuner to give you some other elements to concentrate on. You can have the tuner play pitches so that you will focus on intonation as well.
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Author: William
Date: 2007-07-06 21:09
I have never used "long tones" in warm-up or practice. The only thing I do is play a G4, D4, G3, D5, A5, D6 sequence of sustained notes--perhaps 2 seconds each--to check the response of my reed and "voice" its sound in the different registers. Long tones with slow crescendo/diminuendo do help with embouchure strength and pitch control. But so do scales, arpeggios and etudes--and they are a lot more fun (if anyone can call practice "fun" anymore).
I vote "both thumbs way" down on long tone practice.
Post Edited (2007-07-06 21:11)
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Author: GBK
Date: 2007-07-06 21:44
Long tones by themselves are an inefficient use of your practice time.
I do not use long tones in my warm up and do not advise my students to use them either. I feel that they accomplish very little and take unnecessary time away from scales and arpeggios, which are the building blocks of technique.
A better approach would be to play your scales very slowly, listening for smooth connections between the notes, and checking that the down and/or up movement of each finger is absolutely precise and seamless.
I also do not think that long tones help to improve your tone quality. Playing notes slowly, in context, whether scalewise or arpeggiated, and matching their sonority and color will do much more to develop your overall tonal concept.
Music making is the connections of notes at different speeds, not just one sustained note...GBK
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Author: jendereedknife
Date: 2007-07-06 23:29
Long tones are an essential part of practicing!
Yes, it is time consuming and quite possibly boring, but the sole purpose of them is to control your air without the fingers trying to play a million miles per hour.
Of course, if you just sit on a note for an extended period of time whith no purpose (which is what I think is really in question here), it would be quite worthless. It is best to have a set exercise(s) that is used and will never vary, but must be challenging enough to keep the interest over the years.
I use a series of 5ths & 12ths starting with low E to B a 5th above, then to the F# a 12th above the B (just add the register key), and resolve to the 4th space E (breathe if necessary). Then I go backwards starting on the 4th space E to F# to B to low E. I work up chromatically this way to the throat Bb , which gets you to the high altissimo C. 4 beats per note, all slurred. I start younger kids off at about 120-132, and as they get stronger, I take it slower. Then I have them do it with no breath in the middle (don't repeat the top E).
This warmup works on several levels:
1. air - building lung capacity and control
2. finger memory - having the time to move cleanly from note to note allows the student to gain confidence in fingering a note - especially in the higher registers. (most people tense up their fingers and air when they are not comfortable with a note)
3. large leaps - by simply adding the register key, the instrument jumps a 12th, which is a rather large interval for the ear, but only a 1/2 a thumb for the fingers. The student doens't need to change anything when adding the thumb.
4. embechure (sp?) - slurring down from the F# to the B below the staff requires a correct embechure. The air cannot stop, and the F# must come down without changing the throat. F# - B is easier, but the truth comes out as early as C on the staff - low F. This is directly related to air vs. biting.
I have had students that start the clarinet in their sophomore year in HS (in Taiwan, that is considered "too late" if you want to get into a good music college). My primary goal is to work on their air. Yes, their fingers are slow by comparison, but by the end of year 2 with me, they SOUND like they have been playing the clarinet just as long - if not longer - than their classmates who started way back in elementary school.
It would not be possible without a daily regime of long tones. Imagine if they started long tones with me way back in elementary school......
-Tom Blodgett
President
Jende Industries, LLC
www.jendeindustries.com
Sincerely,
Tom Blodgett
President,
Jende Industries, LLC
www.jendeindustries.com
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Author: 2E
Date: 2007-07-07 00:40
You do have to play long tones "correctly" in order to get anywhere. Playing note after note thinking wow this is boring will not improve your tone. I do long tones to work on intonation more than anything, also to quickly test the sound of reeds im not sure about. 2E
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Author: Adrian
Date: 2007-07-07 01:58
The classic long tone exercise is to start at low E at ppp with a metronome at around 50. Go to ff in four beats, then back to ppp in four beats. Then, open the octave key to B (as smoothly as humanly possible), maintaining the ppp. Go to ff, then back to ppp.
Then, low F. Same drill.
Repeat up to F (1st space on the staff).
Do this for a few years and you will have a beautiful tone and incredible breath and lip control. Double liplayers
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Author: ashemas
Date: 2007-07-07 02:26
I say they are very necessary...usually when I practice I start with at least 15 minutes of long tones. It's a great way of maintaining a mature embouchure, ensuring that you're supporting from your diaphragm, etc.
However, I don't do typical "long tones"...I'll usually do octaves, 12ths, large intervals (all with gradual dynamic changes), then I'll move to scales, arpeggios and thirds. I do agree that the typical long tone exercise can be boring...that's why I choose to use intervals.
Post Edited (2007-07-07 02:27)
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Author: Garret
Date: 2007-07-07 07:19
Long tone practice makes a big difference in the way I sound. My teacher can tell when I go on as he calls it, a "long tone campaign." In other words, there are times when I just don't do it because I'm limited on practice time and I need to get to the music I need for ensemble rehearsals. Then when I do get back to doing long tones regularly, he can tell a big difference in the way I sound. My tone gets more focused and has better overtones.
If I don't feel like doing traditional long tones, sometime's I'll play the 3rd mvmt of the the Saint-Saens Clarinet Sonata with the metronome at 40 (painfully slow). This helps keep me up on:(1) that particular movement of the sonata; (2) long tones; (3) helps with endurance; (4) smooth connections in the pianissimo section. It also keeps the neighbors away.
Another big help when I don't have time for long tones is to do THE "slow chromatic warm-up" that David Weber taught his students. I think they published it in a book by VanDoren. My teacher was a student of his and that's how I found out about it. I think all of Mr. Weber's students know it.
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Author: sfalexi
Date: 2007-07-07 13:46
I only play longtones on notes that I find dificult to control. For instance, I'm now at a level where I don't have a problem controlling the entrance at any dynamic level of most notes through the clarion/chalemeau range. A few years ago, I took a few weeks and every day played long tones (starting at ppp increasing to fff, then starting at fff and decreasing to ppp) on the upper clarinet range (A, Bb, C) in order to control those notes and get rid of the undertones and "grunts". Every now and then nowadays I do long tones of Altissimo notes to make sure that I can enter them at any dynamic level and control them. But I don't do long tones on most other notes unless I'm practicing and for some reason start to have problems.
Alexi
US Army Japan Band
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Author: Old Geezer
Date: 2007-08-22 15:52
Long tones are indispensible and don't take up that much time. They're interesting enough,,,trying to seduce all those overtones into your sound.
Try playing a basic long tone, then it's 12th, then it's octave without using the register key...improvment certain!
Clarinet Redux
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Author: bstutsman
Date: 2007-08-22 16:44
For me long tones are essential. Mostly because I tend to play with too much tension and the long tones help me get in a mode of relaxation.
I will use roots and fifths in half notes. I will start on low E and up to B, E (bottom line), B (middle line), E (top space) and back down all slurred and relaxed. Then I do the same the from low F, F#, G, etc. I will do this until I feel relaxed and have the reed setup comfortably. I do this while watching a tuner.
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Author: Alphie
Date: 2007-08-23 15:55
I had a good reason to play long tones yesterday. A guy who has written a professional sampling program asked me for help to sample bass-, contrabass-clarinets and basset horn for this. One hours work and $1000 minus tax, the rest in cash. My best paid hour ever.
Alphie
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Author: butterflymusic
Date: 2007-08-24 05:54
I incorporate long tones into my playing for two reasons:
1.) To warm up (the equivalent of stretching before a workout) - proper warm up allows me to practice longer (I don't tire as quickly)
2.) I can focus on correct embouchure, good tone quality, and intonation without having to worry about technique.
Out of force of habit I had been playing a chromatic scale from low "E" on up as far as I wish, and then back down again. However, after reading this thread I realize I'm in a rut and I think I'll try the large intervals mentioned above to break out of it. Great discussion!
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