 The Clarinet BBoard
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Author: Pokenerd
Date: 2023-03-03 10:50
What are some things to practice for a better legato? Not just the "over the break" intervals but legato throughout the whole instrument(even though i struggle with the over the breaks too)?
Minjun
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Author: Paul Aviles
Date: 2023-03-03 14:48
When executing a slow, lyrical passage it helps to use a slower finger movement. Keith Stein in "The Art of Clarinet Playing" said that the fingers should move as if suspended by spider webs. You can also think of it as something akin to Tai Chi. What happens is that there is a bit less of a distinct transition from note to note.
For fast non-tungued passages it is the emphasis on longer phrases (the rise and fall of dynamic over longer segments of the the passages being played) that gives the feeling of greater connectivity.
..............Paul Aviles
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Author: SecondTry
Date: 2023-03-03 20:08
I think Paul's points are spot on, if not, as my suggestion is also going to be, about half of the picture as it relates to nice legato.
My contribution is long tones. Practice them. They alone aren't your ticket just as Paul's ideas, without embouchure support aren't either.
But together....beautiful music is made. 
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Author: ruben
Date: 2023-03-03 21:05
"Over the break" intervals have much to do with breath support and mastery of the wind column. Try practicing scales in thirds, crossing the register breaks.
rubengreenbergparisfrance@gmail.com
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Author: kdk
Date: 2023-03-04 00:47
ruben wrote:
> "Over the break" intervals have much to do with breath support
> and mastery of the wind column. Try practicing scales in
> thirds, crossing the register breaks.
>
To point out the obvious, these intervals depend even more on getting your fingers to cover the holes completely and simultaneously. Support and continuous movement of the wind column are important but are not much help for inexperienced players whose fingers miss the edges of toneholes or don't seal together.
Karl
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Author: nellsonic
Date: 2023-03-05 00:15
The importance of a stable embouchure is often overlooked when seeking to play more smoothly, especially on wider intervals. A mirror on the stand can be a great aid in building awareness.
Anders
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