Page 13 - Embou-Sure Book Series

Now check to be sure that the natural angle of the clarinet is fairly close to the body (less than 30 degrees) and that the head is level (not looking down- ward). Also be absolutely sure that the clarinet is between the legs and not to one side! With the clarinet at the side muscles in the neck will be tight, thus potentially affecting tone production.
FIRST FULL-CLARINET TONE
Now demonstrate the tone and pitch which the student is to produce the clar- inet “open G” (first space concert F), and instruct him to produce the sound exactly as before. Most of the time the proper sound result will occur When it does not, the most common fault will be a squeak. However, if the results with mouthpiece/barrel-only were excellent, this can usually be corrected by taking the student through the “A-Q” formation process.
As before, there will be six sounds possible. However, as they will be directly related to the six possibilities demonstrated with the mouthpiece/barrel com- bination, no new variables are introduced:
THIN TONE/SHARP PITCH #12 is similar to #6
Note that in each of the six possibilities, problems and remedies are identical. (Beginning with SOUND EXAMPLE #7, “open G” possibilities are demon- strated first; immediately following each are the mouthpiece/barrel tones to provide immediate comparison.) Thus, if in the process of switching from
the mouthpiece/barrel unit to the complete clarinet the student changes his approach toward tone production, recognition of the similar to sounds will allow you to make necessary corrections easily. If, however, you do not obtain immediate results (assuming earlier success with the mouthpiece/barrel unit), remove the body of the clarinet from the mouthpiece/barrel unit and reinforce earlier success. Then, when the body is once again added, watch carefully for differences in the:
a. “A-Q” set-up (while the student plays).
b. Angle of the clarinet in relationship to the student’s body. c. Speed of the air stream.
Adding Fingers
Once the student has achieved the CORRECT RESULT while playing open G, it is time to begin the process of adding fingers. It is my opinion that low C (concert Bb below treble staff) is the easiest fingered note for the begin- ning student. (Though F undoubtedly produces fewer squeaks and squawks, it provides very poor support in terms of holding the instrument.) But...it should not be attempted until you are confident that both embouchure and breath support have been properly established.
Moving from the mouthpiece/barrel unit to the complete clarinet added no significant variables; the only new dimension for the student was the grasping of the thumb rest to aid in the support of the clarinet. Tone production possi- bilities remained the same in each of the six instances.
At this point an important and possibly problematical variable is introduced. It is the point at which the most errors in beginning instruction are likely to occur. Poorly placed fingers may lead the teacher to believe that the problem lies in the embouchure and breath support. In fact, it may lead the beginning student to completely change embouchure and breath support all by himself in an attempt to make a sound. It is, therefore, of paramount importance that:
CORRECT RESULT #7
RUSHING AIR ONLY #8 is similar to #2
is similar to #1
SQUAWK/FLAT PITCH #9a
SQUAWK/FLAT PITCH #9b is similar to #3b
SQUAWK/HIGH SQUEAL #10
STOPPED/INTENSE AIR #11 is similar to #5
is similar to #3a
is similar to #4
Embou-Sure – 15
a. Finger placement be carefully introduced.