October 20, 2007
Clarinet lesson #14 - das gut!
This is the first lesson where I had the advantage of having my new recorder to capture the whole thing so I don't have to try and remember or write things down. I have to say, its the greatest thing ever for lessons, and I will now be able to illustrate the concepts by small audio excerpts, and what could be clearer than that? Its quite simple to export the files, and normalize and amplify if necessary using Audactiy or whatever audio editor you have at hand, and it sounds perfectly clear.
I started the lesson by getting something clear that I misunderstood: while the force of the air is fairly constant, and the embrosure is set, the tongue is by no means static in the mouth. As Kirt says, what we need to do is for every note to line up with the acoustics of the instrument for that particular note. So its breath, seperate from fingering, seperate from the subtle variations of the cavity of the mouth to make the pure tone (or I sould say whatever tone) you are after for that particular note.
Therefore, all things being equal, if you play a note that doesn't sound right, its not the horn but the fact that we are not lined up with the horn correctly for that note. So its not blow less, blow more but it means get more purity. Remember to always get set first, take your time and don't rush it before you start the note.
We were playing the simple F scale from last week, which is perfect for getting tones one, especially since it doesn't go over the break. We spoke again about the thumb on the register key, and how yoiu only just need the tip of the thumb on the key,and never sliding up and down the key. I have a tendency to do this with Bb to F.
We also played the scale by doing a 16 count of the first note, up or down, and getting that right. Everything proceedes from this first correct note and it must be steady and consistent throughout. Then go on with the scale. Kirt again stressed, have the gut ready for anything , as if some one was about to punch you. Recall that as you play higher in the scale, you must push harder, not blow harder, just to keep the tones pure and steady at the same volume. Higher notes, especially to high and soft, you really have to push hard. Counter intuitive, but there it is, all the side effect of the physics of air movement, what mechanics call the venturi effect: as the size of the tube gets smaller, with the same amount of push of air, the velocity increases in proportion to the size of the tube.
Also with the higher pitches, the tongue moves upward in the mouth, just slightly, which gives you the venturi effect - again, this is for pure tones, and of course you will vary to suit what you are after, but you should be able to make that pure tone. The column of air is on or off, constant, but the chamber in the mouth is altered to fit the physical requirements of the particular note.
Kirt wrote in response to this:
This is a good description, but it could be inferred that the tongue
shaping for higher notes is _only_ for pure tone, and that it varies
depending on the tone _or style_ one prefers. This tongue movement is
actually an example of "lining up with the acoustics" of the horn.
Higher notes = shorter tube, therefore a smaller air passage is needed.
Think how differently you approach a low Bb on tenor sax with a palm key
F. The Bb is created in the biggest part of the horn (and longest), and
the F is created at the smallest part of the horn (and shortest).
You'll be much more open for the low note, much more closed for the high
note.
Remember, lining up with the acoustics doesn't mean one only has to play
with a full pure tone, and conversely it wouldn't be correct to say that
those not seeking a pure tone needn't line up with the acoustics. When
one is lined up with the acoustics, intervals become effortless and
intonation is flawless. The machine works perfectly. Clarinet playing
is known to have a lot of hurdles and stumbling blocks; all of which
are due to colliding with the acoustics of the horn.
Once you can get this tone we are striving for, in all scales, thirds
and arpeggios, you can then play with any tone you care to. In fact,
Klezmer might be a bit different than Turkish or Greek, and certainly
different than Artie Shaw or Eddie Daniels or Harold Wright. Play with
_all _those tones in those particular circumstances.
If one's favorite clarinet music is Greek/Turkish, they still should be
able to play with a classical tone if they have the acoustical
fundamentals down pat.
The main thing from this lesson, a breakthru, was this: I have been taking a deep breath, then settting the muscles of my gut, then my embrosure and then playing. Kirt had me do something just slightly different: set the gut first, then take a deep breath. The difference is tremendous, and its hard to imagine that such a small change could make such a vast improvement.
Now when I am breathing, thats all I have to think about, and its easy enough to always have the gut muscles set if you simply think about it. Now I am beginning to understand the whole notion of a settled column of air.
One thing I noticed for the first time, were the muscles on the side of my mouth - not that they hurt, but I could feel them as seperate from the rest of the muscles - strange and interesting.
Many players I understand, simply bring the horn up, breath, and make your embrosure at the exact same time - a recipe for disaster. But if you have your abdominal muscles set, you can play the same passages with a fraction of the amount of air.
Here is a short example of a pretty good scale using this technique:
Download file
To move on a bit on the left hand thumb: I have the tendency to move the thumb around way too much, and sliding up and down on the horn, especially when going down to the Bb from a B. The anchor is the middle F but there should be a minium amount of movement. Hard to do, but again the least amount of movement you can get away with the better. The index finger should always remain aiimed at the hole, even when rocking up to play the A.
You must make certain that the index finger moves independently of the other three fingers as it rocks from the A key to the Ab. And as Kirt reminded me, all fingers move indendently of the others. Sheesh! The curve of the index finger should never deviate from the curve you make when fingering a B above the break (which is referred to as good finger postion) - again, always curved, and the finger curves around the A and the Ab key as I spoke about last week. Really really tough for me, since I am not familar with this motion, tiny as it is. Rock, don't pivot the index finger, and there is no time that you ever straighten your index finger - or at least, that is what is supposed to happen. Try this with B - Bb - A - Ab. The wrist will move during this rocking, unlike most of the other times you are playing, so you can get it to rock and not pivot. I have been assured that once I get this technique, it will be easier, not harder to play. Here are a few exercises that Kirt gave me specifically for this:
Note: I should have said this exercise was played as a slur, not legato as the graphic indicates.
You can also try holding down the pinky - which must be straight - when doing this. On the last one, you can hold down the Ab as you finger C - this will not make a good note, its only the exercise the fingers. One last exercise is to finger the C and just lift up enough to lift the rings, but the fingers are still on the rings. Certainly this is only on Boehm. Now hold down the Ab key while you do this, and again not blowing just exercising the hand, and remember to hold down the B key.
All in all, my best lesson yet. I may end up actually learning how to play this thing!