Author: spikey1973
Date: 2023-05-21 00:09
@ Paul
Thanks so much for those links, in an instant it is very clear with what you mean with that.
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Play an open G. Start with playing as loose as possible and with as flabby a lower lip as you can. Now just begin to use more and more musculature of the lips as you increase the amount of air you blow. At some point you do reach a point where you just squeeze off the sound. But within that wide approach there is that more concentrated sound.....closer to the "pinching off" where the sound is purest and more resonant. So there is a constant balancing act (I've referred to it as a high wire act with students) where you are finding just the right amount of musculature in the lip verses the amount of air you blow (and this varies with the note either higher or lower as well as the dynamic you choose for those notes) to create this sort of "glowing" tone.
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I will definately give that a go and I can also decide later what I want as style or sound.. But I believe being able to go both was should the goal.. And not let abaility make the choice for me.
@Lydian
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To expand on Paul's not fuzzy or airy, it means more high frequency components giving the sound crispness and definition, like turning up the treble on your stereo. It's mostly achieved by the inside shape of the mouth cavity and tongue and direction and velocity of the airstream. You get there by listening and copying a focused sound, not by trying to match some description of embouchure. It's all about the feedback loop from your ears. With much trial and error, your body will do what's necessary to achieve the focused sound you hear.
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I agree with you here "It's all about the feedback loop from your ears. With much trial and error, your body will do what's necessary to achieve the focused sound you hear". This is indeed very important and on so many levels, on the otherhand.. to me (IMHO) it seems that one will never be able to accomplish this if there isn't also first the understanding on what a good basic technique / emboushure should be like and then adjust this by with the aid of auditive feedback loop.
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You're missing the point about the stomach as well.
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Doubtfully, as an MD, I am well versed in proper breathing techniques, as well as misuse of anatomical terms. But let's agree to disagree on this part.
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You need a teacher soon than later since you're well on the path to failure by disregarding a lot of valuable advice and forging your own path (bad breathing technique, wrong embouchure, wrong reeds, etc.).
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As mentioned (a few times now) before..
The path to find a teacher has been started.. and is well on it's way and I am hoping to have the first lesson soon.
On the other hand... I know from personal experience that a (bad) teacher is also quite capable of sending students onto the wrong path as much as anything else.
It is not so much a teacher, but the right teacher.. and the right personal feedback. For now I am not doing much practising at all so not much chance to get into bad customs.. Just diving into the world of understanding things.
What is right, what is wrong, what is personal preference, what is personal limitation, what is material based limitation, How to read into that what is written Any new field of interest has it's own vocabulairy, that one has to understand first.
Additionally, I personally believe that, people respond better on telling them what to do then telling them what not to do, but that is just me. Do not take this as that I am not appreciating your advice though, I do... Just am also letting other pieces of information coming to me as well and hopefully find that capable and enthousiasticating teacher soon.
Kind greats
Matthieu
Post Edited (2023-05-21 00:12)
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The Clarinet BBoard
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