In contrast to the natural actions and positions of the tongue that we are familiar with from speaking, voicing in clarinet playing requires the tongue to be independent of the mimic muscles and the movements of the lower jaw. Therefore, the connection between muscular and auditory perception is of great importance. Even the smallest changes in tongue position and shape affects the tonal result. This is because the tongue is an extremely mobile muscle, but its various positions are more difficult to perceive without receptors such as those found in the joints. Johnston (1986) was able to prove this in a test arrangement with a mechanically blown clarinet.Įli Eban emphasizes that voicing places high demands on proprioception. This optimizes sound quality and response. By consciously shaping the pharyngeal cavity and lifting the soft palate, a resonance chamber can be formed that reproduces the vibrating behavior in the inner bore of the clarinet. Lucy Rainey (2011) points out that the mouthpiece and vibrating clarinet reed are located in the oral cavity. The breathing technique must include a suitable support technique to match the air pressure to the diameter of the airways in the vocal tract and to the musical context (see also John Odrich, 2017). Using vowel shaping to produce a fast airflow reduces the embouchure pressure on the reed, which in turn has a positive influence on the reed’s vibration behavior and response. This principle can be followed well in the video by Sarah Willis. The higher the pitch, the faster the airflow should be to produce a focused, well-responsive sound. This increases the speed of the air immediately in front of the reed and mouthpiece and reduces the air pressure there. A forward and upward pointing tongue reduces the space between tongue and palate. The experience of many interviewees (Michel Arrignon, James Campbell, Eli Eban, etc.) and other teachers (Larry Guy, Paula Corley, Howard Klug, etc.) shows that a fast airflow has a positive effect on the response, intonation, and timbre of the sound, especially in the clarino register and in the high register. If the pitch to be played exceeds the singable range, the tongue supports the function of adjusting the speed of the airflow to the pitch accordingly.Īn important function of voicing is the optimization of the speed of the airflow in the front part of the oral cavity, where the air hits the reed and causes it to vibrate. Since the mouthpiece is partly in the oral cavity when playing the clarinet, the tongue position would be adjusted accordingly. The combination of all aspects involved in voicing can be seen in the video of horn player Sarah Willis. Sarah Willis, Video: Horn Exercises- the Inside Story! As with vowel shaping, this changes the speed of the airflow, attuned to the different registers and pitches. Through "inner singing along," the opening of the glottis influences the use of sound and the course of the melody. Inclusion of the vocal apparatus through modified opening of the glottis.In addition to vowel shaping, the inner shape of the pharynx can be widened to optimize the oral cavity as a resonance chamber according to the pitch currently being played. Conscious shaping of the entire oral cavity.This modifies the speed of the airflow hitting the reed. The conscious shaping of different vowels (e.g.: "i", "y", or "ü") changes the shape and volume of the anterior oral cavity through different tongue positions.The know-how comprises the following sub-aspects, which can be used individually or in combination: There is no uniform definition of voicing. In order to achieve the best tone results, voicing must not simply remain activated during the duration of the sound production, but should already be formed before the sound is used. Voicing has a decisive influence on timbre, intonation, attack and response and facilitates control over the various registers. Voicing is an important sound-relevant parameter on wind instruments (see also "Tonbildung"). 3.6 The Oral Cavity as a Resonance Chamber.3.3.3 The Higher the Pitch, the Greater the Air Velocity.3.3.2 Middle Position: Include the Middle of the Tongue.3.3.1 Exercises in the Clarino Register.3.3 Each Register Has Its Own Specific Voicing.3.2 The Tongue Position of the Vowels „ee" to "y" Accelerate the Airflow.3.1 Vowel Shaping Controls Timbre, Intonation, and Response.3 Didactic work, Comments by the Interviewees.2.1 Double-Lip Embouchure Favors the Shaping of a Resonance Chamber.1.2.2 Independence of Voicing and Articulation.1.2.1 Independence of Voicing and Embouchure.1.2 The Oral Cavity as a Resonance Chamber.1.1 Vowels Regulate the Speed of the Airflow.
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