Page 7 - Info Magazine nr 14 december 2020

Exercises

1. Let the student play long notes from A to B, with a crescendo from A to B.
By playing a crescendo, the student automatically gives more air velocity so that the B can come out more
easily.

2. Turn the clarinet 180 degrees from the barrel so that the teacher can operate the keys and the pupil
can blow in a normal way (normal embouchure, with the reeds downwards). The pupil holds the clarinet by
the barrel and blows a long forte of air (think of the airplane!), the teacher controls the keys and creates a
legato melody.
The student does not know when the teacher will push the register key. With this exercise the pupil ex-
periences that airflow is independent to the melody or the notes/fingerings he plays. He cannot mentally
prepare himself for the “long B" and will keep blowing. This exercise is in any case a good basic exercise
to start with, every clarinet lesson, to experience how autonomous air flow is.

3. While playing the A and the B-flat, the student leaves his right hand on the holes of the lower joint,
plus the keys (of the B) plus the middle and ring fingers of the left hand.
The movement from the A (or B-flat) to the dense B is then only a very small movement in the left hand;
actually, only a small turn in the left wrist, as if you don't have to cross such a huge distance at all.

4. Fire drill: the pupil plays long notes B-A-B-A-B-A. So, always start with the B, followed by the A.
You will see that it is easier for him than playing A-B-A-B-A-B. That's because you have to give more air
from the A to the B. The A comes out relatively easy. So, assume the airspeed of the B by default (even if
you play the A).

5. Give the pupil metaphors for the airflow: a laser beam or beam of light that always continues, no
matter how far you shine in space; an airplane that has to keep flying; a high pressure sprayer for your gar-
den, from which water comes out as soon as you release the lever because the pressure is continuously on
it. The tone must never fall down, there is always a push forward. It also helps to write small crescendos
in the phrases of the music, as if, once you start a phrase, you always have to keep accelerating the air a
little when you blow it into the clarinet. The crescendo does not mean getting louder but for continuously
giving a little more air speed.

6. Check that the angle of the mouthpiece is correct. Too close to the body gives a chance of squee-
zing the embouchure and a closed throat. Too far from the body -an angle too large- does not give any
control over the embouchure and certainly not over the airflow.

7. The mouthpiece must not wobble, the upper teeth must be well on the mouthpiece. This is essen-
tial to be able to play the "long B". Be careful not to pinch the lips or jaw. A suggestion is to push the cla-
rinet a bit upwards with your right thumb - under the thumb rest, so that the mouthpiece is pushed firmly
against the upper teeth, but the lower jaw can relax (so that the pupil can say "oooohhhhh").

8. You can practice breath support/airflow by putting a belt around your waist - something under
your belly button - which is quite tight. While playing the clarinet you try to push this belt apart with your
stomach muscles (not as one firm push, but by continuously tightening the muscles). Practice with the
belt for a few weeks and then try to leave the belt away, but keep tightening your stomach muscles. Tip:
put the belt back on during a concert, as a reminder to give breath support/airflow in an exciting situation.

Sources:
* Tipbook clarinet, Hugo Pinksterboer, The tipbook Company, ISBN 978-90-8767-016-0
* The Clarinet and Clarinet Playing, David Pino, Dover Publications, ISBN 0-486-40270-3