Tongue

The position and shape of the tongue in the mouth is of basic importance.

The tongue is not only the primary stimulus of articulation, but also greatly influences the pitch, projection and color of the tone. The proper position of the tongue while
playing is basically a muscular heightening of the position of the tongue while at rest with the mouth closed. As can be noted while at rest, the tongue lies in a very relaxed state in the mouth--neither pressed down, upward, forward, to either side nor
held backward in the mouth.

From this position of total muscular relaxation, the front part of the tongue must be slightly raised (with a slight saucer-like indentation in the top) so as to position the upper tip of the tongue directly under the tip of the reed. This lingual position will speed the air column forward into the mouthpiece as well as provide the most efficient
position for articulation.

It is from this position that the tip of the tongue is merely moved very slightly up and down (not backwards and forwards) to make contact with the reed and provide what is known as articulation.

The difficulty lies in perfecting the correct position of the tongue while slurring. In reality, the tongue must be disciplined not to move as opposed to being taught how to move since the path of the tongue's motion is very small and simple.

Throat

The throat, like every other part of the body, needs to be trained to keep from doing anything unnatural. It must not overly close nor strain to be overly opened during playing. Keep the throat relaxed and never tense the muscles in the neck. The throat will then help to voice and place intervals in a verynatural and singing manner.

For a lyrical and vocal style of playing, the sound of the clarinet must be placed in the larynx, or voice-box. The patch of skin at the base of the throat will be seen to distend. This placement of the tone will also allow you to adjust the pitch of each note as necessary by slightly opening or closing the throat.

Articulation

When speaking of any type of articulation on any instrument--whether tongued, blown, bowed, struck or plucked--never lose sight that the true purpose behind the word, description or technique is the expression of the beginning and ending character of the note or phrase.

On clarinet, the key to all articulations is the relaxed combination of correct air flow, poised tongue and sensitive lip pressure and immaculate fingering.

The articulative character of the ends of notes are especially controlled by the lips.

Articulation is also determined by the dynamic and tessitura, the reed, the mouthpiece, the ligature and the barrel. The vast majority of what is perceived of as articulative problems usually have nothing to do with the tongue.

Articulation is the result of interrupting the reception of the air by the reed. Articulation is the bouncing off of the vibration and response of the tip of the reed with the tip of the tongue. To start and stop every phrase with the tongue is certainly precise, but it is not always the most artistic thing to do. Many notes are begun and ended with air flow alone.

Different articulative effects are also created by putting different parts of the tip of the tongue in contact with different parts of the tip of the reed. This must then be combined with the variable of the speed of the tongue in its slight motion away from, and then returning to, the reed. The speed of the tongue combined with the air flow and pressure of the lips is what gives the note its character. The more forceful the sound desired, the faster the speed of the tongue. You must be sensitive and master frustration.

Staccato of all varieties are merely faster forms of legato with anticipated fingering. The length and variety of staccato notes in any work must be determined by the tempo, style and character of the music.

Each staccato note must sing with presence, substance and beauty. If you keep this in mind you will never play too fast or too short. Always remember that each note that
is tongued must have as beautiful a sound as if it were slurred.

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