When sound is extracted, the clarinetist’s tongue acts as a valve, since sound only occurs when the exhaled air stream as a result of pushing the tongue away from the cane gains access to the instrument. Language movements are directly dependent on the nature of the music. To start an introduction or a song phrase in pp, a careful touch of the tongue to the cane and a very calm repulsion are necessary.
When playing legato, the language should be in a completely calm state so that the smooth movement of sounds is not disturbed. To perform acute accents (sforzando), the language should be clearly and quickly pushed away from the cane, as if pronouncing the syllable "ta". When performing staccato sounds (staccato), one should not sharply touch the cane with the tongue, but it must be removed very quickly, as if pronouncing the syllable "tat". Individual non-connected sounds (non legato) require a smooth movement of the tongue, as if pronouncing the syllable "yes".
When playing staccato, pauses occur between individual sounds, while legato and non legato should not be paused. It is necessary to strictly monitor that each movement of the tongue very precisely matches the movements of the fingers.
The most delicate work - the regulation of cane vibrations and the prevention of air leakage - is performed by the clarinetist with his lips. The lower lip is in direct contact with the cane and is, as it were, a muscular septum between it and the teeth. By clicking on the thin end of the cane, the clarinet player adjusts its vibration. The sound quality, breadth, dynamics and intonation depend on the correct position of the lip on the teeth.
To extract the desired sound, you need to make a light blow with your tongue on the cane. At the same time, in order to prevent a click before the sound occurs and there are no injuries to the tongue from the oscillating cane, the blow should be made not at the end of the mouthpiece, but slightly lower. It is applied not by the end of the tongue, but by its back. For a clearer attack (the beginning of the sound), the syllables “tu” or “de” are pronounced at the moment of impact, etc.
The tongue also serves as a kind of valve. It interrupts and regulates the flow of air into the slot of the mouthpiece. As you know, sound does not appear at the moment of impact, but when the tongue is pulled away from the cane. As a result, the clarity of the attack depends on the motor energy of the language, the speed of its withdrawal, which requires the development of certain skills.
Before the start of the game, you need to straighten the area of the chin muscle, do not strain it, lips, not pressing strongly to the teeth, stretch as if in a smile. A guideline for the correct position of the lower lip is its edge, which should be clearly visible.
The upper lip on the cut of the mouthpiece (beak) serves as a kind of valve that prevents air leakage, with the help of the facial muscles it regulates intonation purity.
The lips are very easily vulnerable, the student must remember that any, even slight damage can lead to the fact that playing the clarinet will become impossible.
It is considered to be the correct setting of the mouthpiece in the center of the mouth, this is completely justified. However, one should not forget that the sounding place on the lip of not every beginner coincides directly with the center, there may be slight deviations. Therefore, the most successful setting must be sought individually.
You must immediately teach clarinetists to hold the mouthpiece correctly. Pupils should remember that the sound loses its timbre color, becomes overly flashy, intonationally false, if the mouthpiece is deeply taken into the mouth, since the oscillating part of the cane is lengthened. Otherwise, the sound is more timbreous, but pinched, less dynamic, tends to whistle (kicks). To some extent, the lips help to determine the correct position of the mouthpiece. If they are thin, then the beak of the mouthpiece is visible about three quarters, normal - a little less than half, full - about half.
If all the clarinet registers sound rich, voluminous, all ranges are filled with sounding overtones, then the mouthpiece itself is correct. Usually each student has his own staging, and most fully revealing everything. you have to look for its capabilities in the classroom, experimenting, that is, slightly changing the position of the mouthpiece and comparing it with the sound of the instrument.
Page 8: Bass Clarinet
Moisten the cane with saliva or water.
Put the ligature on the mouthpiece, as long as-
It is shown in the figure.
Attach the cane to the mouthpiece.
First place the cane so that
the tip of the mouthpiece was visible above the end
canes, then tighten the ligature screws,
to fasten the cane.
* After the game, wipe the cane with a piece of mar-
whether and put it in a case.
Since the cane and mouthpiece are easy
damage, always keep the munda
pieces with a closed cap.
Since a change in temperature may affect
tune the instrument before tuning
blow warm air through it to
warm it up.
Clarinets A, Bb and Eb
Push or pull the barrel
to tune the clarinet.
When the build is tall
When the build is low
Push or pull the neck
to tune the alto clarinet.
When the build is low
Loosen the tightening screw
or extend the neck to adjust
Ki bass clarinet. Having completed the mood-
ku, tighten the screw again.