 The Clarinet BBoard
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Author: Richie
Date: 2016-11-27 03:27
So I have the (supposedly common) issue of not keeping the air support steady and quick during passages, especially ones with a lot of articulation. I.E. I stop my air sometimes when tonguing. Are there any tips or exercises I can use to overcome this?
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Author: Tobin
Date: 2016-11-27 06:49
This is a common issue. You should adopt an exercise in which you start by playing a reference or long tone, followed by articulated notes -- maintaining the air stream and the quality of sound exactly as you did the reference tone.
I would then suggest taking passages from your music - playing them slurred and concentrating on how well you direct your air stream the phrasing, and the quality of sound. Then articulate the same passage, making sure that the volume/support/sound quality are consistent.
It's important to realize that your tongue will learn to operate efficiently (and lightly, and quickly) when you provide it the framework of a stable embouchure and a stable air stream.
James
Gnothi Seauton
Post Edited (2016-11-27 06:51)
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Author: SarahC
Date: 2016-12-01 15:04
i imagine my air is water flowing through the faucet. the faucet stays on.. not turning on and off, but i interrupt the water by flicking my finger through it. then pretend the tongue is the finger flicking through the water (air) stream.
it seems to be an apology that works well for my students. as this issue is one for all woodwind
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Author: kdk
Date: 2016-12-01 18:18
SarahC wrote:
> it seems to be an analogy that works well for my students. as
> this issue is one for all woodwind
I'm confused, assuming you're the same SarahC who began the other thread about Strengthening Embouchure. Do you have longer experience on a wind instrument other than clarinet?
I would suspect from your water faucet analogy that you may be a flutist. Although the analogy itself can give a good idea of what's involved from the point of view of continuous air pressure, the problem of articulating on a clarinet is that it isn't really a matter of interrupting the air flow. You need to stop the reed. Then, to start it again cleanly, the air pressure needs to be present at the reed before the tongue releases it, or there will be a delay in starting the vibration.
In slower articulations there are several ways to accomplish this depending on the shape you want each note to have. At faster tempos the most practical way is not to stop the air pressure at all, or very little, and instead stop the reed with the tongue, hold it until the next note should start, and then quickly remove the tongue to release the reed. At fast speeds, this all becomes more or less one tongue movement to and away from the reed, although you can still control the length of the notes (almost connected to staccatissimo) by changing the time you hold the reed with your tongue.
When you speak, you are constantly forming consonants with your tongue to articulate the vowels in each syllable. If you make a separate puff of air for each syllable, it will sound distorted and slow in any language. Articulation in normal speech and articulation on a clarinet reed are similar.
Karl
Post Edited (2016-12-01 18:44)
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Author: Roxann
Date: 2016-12-01 19:06
Purchase the Breath Builder and use it at various times during the day (watching TV, doing the dishes...). It's been a huge help for me. 1-800-256-6421
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Author: SarahC
Date: 2016-12-02 05:06
Kdk
Yes I have my licentiate in recorder, and my diploma in flute. So yes. Lots of experience in other woodwind
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Author: sfalexi
Date: 2016-12-03 09:11
SarahC wrote:
> Kdk
> Yes I have my licentiate in recorder, and my diploma in flute.
> So yes. Lots of experience in other woodwind
Funny cause I find myself going the opposite direction of you (lots of experience in clarinet, and I'm currently trying to learn flute).
To the original poster, I had this same issue for a LONG LONG time. I followed something similar to Tobin's method. But I used scales and arpeggios. 1) cause it's always good to work on those at any tempo and any patterns, and 2) because I wanted stuff that did not require thought so I could devote maximum thought and concentration to my airflow and tongue.
It might help to think of articulating as using the consonant "L" or saying "La" for each time you place your tongue on the reed. You can draw out the sound "Llllll" (think as though you were teasing someone saying, "sounds like you lllllllllooooooovvve her"). But do to so would have the tongue on the roof of the mouth, but air STILL passing over your vocal chords and out your mouth. Try thinking of articulations as a series of "LaLaLaLaLa" instead of "TaTaTaTaTa" and you might have a better idea of how to keep the air flowing. A pause between short staccatos would be just holding the "L".
Legato tongue.... "LaaaaaLaaaaaaLaaaaa". Staccato tongue.... "LllllllllaLllllllaLlllllla"
Slowly. Very slowly. Start with legato tongue and then work on staccato. Slowly.
Alexi
US Army Japan Band
Post Edited (2016-12-03 09:12)
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