Articulation Level 3 by Roman Cisneros Articulation is key to musical expression. My former professor from the Eastman School, Jon Manasse likened articulation to speech. Through use of the tongue, we annunciate on the reed. In this class, we will focus on how equipment, embouchure, and tongue position impact articulation. Equipment First of all, the instrument must be kept in the best possible condition at all times. Be sure that the instrument seals well and that all pads and corks are in good condition. ‘Next, the condition of the mouthpiece is something that must be considered. Mouthpiece care is an aspect that most young students tend to overlook. The mouthpiece facing should be free of any major scratches, build-up, or debris. The reed must be allowed to vibrate with optimal freedom, , The reeds are the last element of our equipment to consider. Reed care plays an integral component in achieving goad tone. Without good reeds, tone quality inevitably will suffer. Start by asking yourself the following questions: Do | have a reed care system? How do | select for my reeds? Do | break-in my reeds? How do | store my reeds? Embouchure The following are common questions and comments that | hear from students with reference to embouchure: Sens Why do | have to think about my embouchure? What good does it do? Why do | have to point my chin? My mouth hurts! Ultimately, a good embouchure aids us in achieving a beautifully resonant tone. A proper embouchure will help to enhance articulation, intonation, tone and control throughout the range of the instrument. This aspect of our playing is something that must be trained from the start. Through patient consistent practice, a proper embouchure will eventually become natural. The first step is to either get a small mirror to put on your stand or start your practice session in front of a mirror. Next, begin to play an easy slurred passage. Something that is below throat B- flat is preferable. Take notice of your embouchure. Consider the following questions: 1. Does my embouchure feel stable? 2. Is the chin flat? 8. Do I leak air? 4, Are my lips already fatigued?Articulation Level 3 by Roman Cisneros lf you are concerned about any of these questions, consider how you make your embouchure. if you are in any way unsure about what a proper embouchure is or what it should look like, then do the following: In front of a mirror, say “00” or “Vuum". Notice how the chin naturally flattens out and the corners of the mouth come in slightly. This illustrates an ideal shape for the embouchure. Your goal should be to maintain this shape(pointed chin, lower lip curved against the lower teeth with a ‘small amount of lip over the lower teeth, and the corners of the mouth in). Tongue Position ‘Tongue position is the element that we cannot see in a mirror, but learning to be aware of the tongue’s position while playing can help to bring resonance and focus to the tone. in addition, awareness of the tongue's position can aid in developing articulation. Many students take the tongue for granted and are unaware of wher€ the tongue is or what it is doing while they play. There are many possible positions for the tongue such as: “A” as in Ace, “Eee” as in each, “An” as in alleluia, “O" as in open and "Ooo" as in too. The most common tongue position taught in the US is the “Eee" position. | contend that it is useful to play some slurred scales using all of the above positions to gain a better understanding of how each affects the tone in the various registers. | usually recommend the "Eee" position because for me it aids in focus, pitch, and control in all registers. One of the other positions may suit you better because remember, we all have different tongue sizes, jaw shapes, and lip densities. In addition, different mouthpiece, instrument, and reed combinations can affect what sounds and feels best. With reference to annunciation, there are several possibilities. The most common are the following: “Tee” or "Dee" “Too” or “Doo” “Tah” or “Dah” Advice Make time in your warm-up for articulation. The tongue is essentially a group of muscles that can be honed and strengthened. Practice articulation in a variety of ways with thoughtfulness. and patience. Think about the position of the tongue and how it is being used. In general, the adage of “tip of the tongue to the tip of the reed” provides us with a good start to consider the best way forward when faced with various articulated passages. More than anything, try to be consistent with the part of the tongue that you use and where it touches the reed, depending on the articulation that is called for and the tempo of the passage.Articulation Level 3 by Roman Cisneros Exercises In the following exercises, the goal is to practice consistent tongue usage with various tempi and dynamics. The exercises are taken from: Sound Exercises - K\ 1. RESPONSE EXERCISE ‘AIM: The aim of all response exercises is to achieve a clean, controlled and differentiated attack in all registers and dyna- mics. Mastering exercises nos. 1 and 4 (and later 15 and 21) is the precondition for tackling exercises no. 8 and 12 (and later 18 and 26). The exercises no. 30, 33, 36 and 39 come las. EXECUTION: Play the following exercise at tempo + = 60: Brie eceifer 1, ANBLASUBUNG ZIEL: Ziel aller Anblastibungen ist es, in jeder Lage und Dynamik Tone sauber, kontrolliert und differenziert an zu konnen, Die Beherrschung der Ubungen Nr. 1, 4 (3 dann 15 und 21) ist dabei Vorraussetzung far die Ubu Nt 8, 12 (spater dann 18 und 26). Am Ende stehen die Ui gen Nr. 30, 33, 36 und 39, AUSFUHRUNG: Folgende Ubung im Tempo « = 60 spiel chromatically downwards to chromatisch abwarts bis = a) piano b) forte ©) pianissimo 4, RESPONSE EXERCISE |AIM: It goes without saying that the same aims and tips apply to this exercise as to exercise no. 1. In contrast to the lower register, however, here one needs to pay very close attention to ensuring evenness of tone at the change of register. EXECUTION: Play the following exercise in tempo « ‘the same way as in no. 1 Sound Exercises - Klangstudien 4, ANBLASUBUNG ZIEL: Es gelten fdr diese Ubung natirlich die gleichen tnd Tipps wie flr Ubung Ne. 1. Anders als in der unteren muss man hier jetzt allerdings auch sehr auf die seglichenheit der Lagen beim Registerwechsel achten AUSFUHRUNG: Folgende Ubung im Tempo 4 = 60 ir selben Art wie bei Nr. 1 spielen: = ——— —— ———— chromatically upwards to cchromatisch aufwairs bis @—— —a)piano b) forte ©) pianissimoSound Exercises - Klangstudien ae 2. ARTICULATION EXERCISE 2. ARTIKULATIONSUBUNG ZIEL: Diese Ubung ist sozusagen die -Keimzelle” jeglicher sauberer und differenzierter Artikulation, ob Portato oder Staccato. Von dieser Ubung an lernt man, mit der Zunge jeden Uberflassigen Bewegungsaufwand zu vermeiden AIM: This exercise is the “kernel” of any clean and differen- tiated articulation, be it portato or staccato. The exercise pro- vides the point of departure for learning that any superfluous tongue movement is to be avoided. EXECUTION: Play the following exercise at a calm tempo AUSFUHRUNG: Folgende Ubung in einem ruhigen Tempo (2= 80): (= 80) spielen: STE of: =] w —=ae a ———————— 4 chromatically downwards to a) forte cchromatisch abwaits bis <= _bipiano 2 —9. 5. ARTICULATION EXERCISE 5. ARTIKULATIONSUBUNG. e ‘AIM: The same aims and tips apply to this exercise as to exer- ZIEL: Es gelten fir diese Ubung die gleichen Ziele und cise no. 2. wie fr Ubung Nr. 2. EXECUTION: Play the following exercise in tempo « = 80 ‘AUSFOHRUNG: Folgende Ubung im Tempo 4 = 80 in ¢ inthe same way as in no. 2: ben Art wie bei Nr. 2 spielen: a) forte ) piano cchromatically upwards to cchromatisch aufwarts bis 9. ARTICULATION EXERCISE 9. ARTIKULATIONSUBUNG ‘AIM: The same aims and tips apply to this exercise as to exer- _—_ZIEL: Es gelten fur diese Ubung die gleichen Ziele un cise no. 2. wie far Ubung Nr. 2. EXECUTION: Play this exercise in the same rhythm as.no.2 _- AUSFUHRUNG: Im selben Rhythmus wie bei der Nr. 2, aber im Tempo « = 100 spielen: but at tempo 4 = 100: chromatically downwards to a) forte cchromatisch abwarts bis ) pianoArticulation Level 3 by Roman Cisneros The following excerpt is taken from: Complete Method for the Clarinet Part lll Virtuoso Studies and Duos Written by: Gustave Langenus 3 Studies for acquiring a light Staccato Allegretto 2) The following excerpt is taken from: 32 Etudes Transcribed for Clarinet by: Cyrille Rose edited by: David Hite | Y ee. Gioced oop aX i