I've been struggling with tonguing in the altissimo (the lightness) in my scales. Basically there's a slight undertone every time I tongue up there. Any tips?
@@Chssva Hi, the undertone appears because the first air that passes through the instrument directly after the tonguing is „too slow air“. Try approaching the reed even when tonguing from a higher tongue position (like saying EEE in english)
Be kind to the man. It's just a matter of word choice. It's true that the use of the word "feel" is oftentimes used to describe the correct way of internalizing the beat. So, instead of - for instance - tapping tye beat with your foot, you should "feel it" on your internal metronome. Now had Mr Hügli used slightly different wording, like for instance "stop accentuate the beat with micro body movements", everything he says makes perfect sense. The beat is a structure on which we attach our rhythmic figures. When executing a phrase, the internal rhythmic elements of the phrase may matematically be slightly off the 'beats of the beat' so to speak, which is why his idea to use the body/instrument to articulate the MOVEMENT OF THE PHRASE, rather than the CLOCKING OF THE BEAT, sounds very clever to me. And I believe I see many professional horn players use this method.
... that's why classical musicians are not able to play other types of music...or having real difficulty's learning it.... Time feeling is essential for any kind of music in my humble opinion.
Stop showing the beat? Ok, sure. Stop emphasizing the best in certain kinds of music? No problem. Stop feeling the beat?? Naw, get out of here with that! Feel much larger more flexible beats? Yes, that makes sense.
@fabianhuegli and yet, what is the title of your video....? You are obviously a fine clarinetist but I wish you were more thoughtful about your content.
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I've been struggling with tonguing in the altissimo (the lightness) in my scales. Basically there's a slight undertone every time I tongue up there. Any tips?
@@Chssva Hi, the undertone appears because the first air that passes through the instrument directly after the tonguing is „too slow air“. Try approaching the reed even when tonguing from a higher tongue position (like saying EEE in english)
switch to banjo
Be kind to the man. It's just a matter of word choice. It's true that the use of the word "feel" is oftentimes used to describe the correct way of internalizing the beat. So, instead of - for instance - tapping tye beat with your foot, you should "feel it" on your internal metronome.
Now had Mr Hügli used slightly different wording, like for instance "stop accentuate the beat with micro body movements", everything he says makes perfect sense. The beat is a structure on which we attach our rhythmic figures. When executing a phrase, the internal rhythmic elements of the phrase may matematically be slightly off the 'beats of the beat' so to speak, which is why his idea to use the body/instrument to articulate the MOVEMENT OF THE PHRASE, rather than the CLOCKING OF THE BEAT, sounds very clever to me. And I believe I see many professional horn players use this method.
@@joenremmer thank you joen for having my back and to clarify the topic :) wish you a lovely day!
@ you're welcome.
More like... Stop counting the beat, and start feeling it, or creating it.
... that's why classical musicians are not able to play other types of music...or having real difficulty's learning it.... Time feeling is essential for any kind of music in my humble opinion.
Stop showing the beat? Ok, sure. Stop emphasizing the best in certain kinds of music? No problem. Stop feeling the beat?? Naw, get out of here with that! Feel much larger more flexible beats? Yes, that makes sense.
@@whoitisnot thanks for you clarification :) you‘re right we should feel the beat but not show it in certain kinds of music, well said
@fabianhuegli and yet, what is the title of your video....? You are obviously a fine clarinetist but I wish you were more thoughtful about your content.