Developing a Healthy Clarinet Practice

This collaborative article from the ICA Pedagogy Committee’s 2023 ClarinetFest^® presentation “The Healthy Clarinetist: Tips for Staying Healthy While Practicing and Performing” provides a variety of perspectives, techniques, and common goals.

ICA Pedagogy Committee: Jennifer Branch, Ricardo Dourado Freire, Joshua Gardner, Julianne Kirk-Doyle, Corey Mackey, Osiris Molina, Pamela Shuler, Kylie Stultz-Dissent, George Stoffan, and Gi-Hyun Sunwoo

EQUIPMENT CONSIDERATIONS (COREY MACKEY)

Efficient vibration is vital for clarinet tone and long-term success and is greatly impacted by the condition of your equipment. If the instrument is out of adjustment, the ligature is bent or asymmetrical, or the reed/mouthpiece combination is not correct, it can lead to excess tension in the hands, throat, or embouchure and can cause short term and/or long-term injury.

PINKY KEYS

The word “efficient” implies maximum resonance with minimal tension. Yes, you need a certain amount of muscle engagement regarding breath support, and a firm embouchure when playing, but if your instrument is not sealing you will be forced to add undesired finger pressure or use both pinkies when only one is needed. Make sure that your instrument is sealed and adjusted to eliminate this source of tension. Those pinky keys are notorious for getting out of adjustment—make sure they are sealing properly!

LIGATURE

Be sure your ligature is symmetrical and correctly aligned. It is never a waste of time to double check reed/ligature placement at any age! Those extra few seconds can make all the difference. Sometimes when metal ligatures get old or dropped, they can be bent and will not hold the reed down properly. Occasionally, try a new or different ligature (even a friend’s) and see if it is easier to play. Your private lesson teacher can point you in a good direction and may even have extras on hand for you to experiment with. I always travel with an extra ligature for students to try out. So far, every student sounded better when I put them on it!

REED AND MOUTHPIECE

Reed strength and mouthpieces are like a good handshake. There are certain reed strengths that work well for certain mouthpieces. Many reed and mouthpiece manufacturers have charts that will put you in the right area for reed strength. The ears of your teacher will also help guide you. Having a reed that fits your mouthpiece opening is crucial and if you make a mouthpiece change, make sure to experiment with reed strength if it is a drastic change. If you are a daily mouthpiece swabber, please know that this can alter the inner contour of the mouthpiece. If you have had your mouthpiece for several years (and swabbed it daily), chances are it is very different than when you first bought it. How we put the reed on the mouthpiece (along with swabbing practices) can alter how the reed sits on the mouthpiece and, compounded over several years, can add unneeded tension to your playing. Many young musicians play with a hard reed and an airy/fuzzy tone, which they misinterpret as a “dark sound” (something that young clarinetists mistakenly strive for). Without getting into the weeds about clarinet tone, make sure that your reed strength is appropriate for your mouthpiece and have your teacher guide you to find the “diamond” in your tone.

CLARINET HAND POSITION (JOSHUA GARDNER)

HAND POSITION

When playing any instrument, we must manipulate some foreign object in an efficient and ergonomic manner. Efficiency and ergonomics are interrelated in that each has a direct effect on the other. If the body cannot manipulate the instrument efficiently (at least a properly designed instrument), there must be some physiological factor limiting the ergonomics of motion. The modern clarinet is designed to accommodate the human hand. Certain physiological factors can limit the efficiency with which the hand can manipulate the instrument. Hand size is one primary contributor. Overly small hands may not be able to reach all the keys without some form of unnatural distortion of the hand position that will reduce its efficiency. This can be a particular problem with young students. Fortunately, adjustable thumbrests usually solve the problem, or at least make it better. Sometimes, more extreme measures must be taken, such as moving the placement of the thumbrest, or adding material to the thumbrest that can be changed or removed later. I have had success using cork for this purpose.

Because the hands need to manipulate the clarinet in an efficient and ergonomic manner, proper hand position is crucial—this is a considerable variable in efficient playing. Each hand must overcome specific position and movement challenges. Fortunately, there are no extreme motions or positions necessary for the development of fine technique, unless we introduce obstacles in our playing ourselves.

RIGHT HAND

The right hand (RH) has a dual function when playing the clarinet. First, the index, middle, ring, and little fingers are responsible for the actuation of nine keys and three open tone holes. Only the middle finger has a single function—the opening and closing of the second lowest tone hole, which is also the second largest tone hole. The index finger directly opens and closes the first tone hole of the lower joint. Additionally, the side of the index finger operates the four RH trill keys on the upper joint. The ring finger opens and closes the lowest and largest open tone hole and operates the sliver key for chromatic BÓ/FÏ. The little finger operates the four RH keys: F/C, FÏ/CÏ, E/B, AÌ/EÌ. Although each finger has unique responsibilities that require specific refined motions, the hand must be held in a comfortable, natural fashion that does not put strain on the wrist or fingers.

The thumb, in cooperation with the embouchure, is responsible for supporting the weight of the clarinet. This responsibility can potentially hinder the comfortable and natural position that provides the greatest ease of finger motion. The thumb does not “hold” the clarinet; “holding” usually results in “gripping” the instrument between the thumb and first finger, common in students of all ages. When the thumb and embouchure are working correctly, supporting the clarinet, the four fingers should be free to move as you wish. No other finger should assume a supporting responsibility when playing. (One common problem to look out for is when the RH index finger becomes jammed under the RH EÌ/BÌ side key.)

On many clarinets, the thumbrest positions the thumb too low relative to the other fingers, which may cause stress on the thumb and hand. Ideally, the thumb should be positioned opposing the index finger or slightly below—between the index and middle fingers. If you think about how you grab an object, most force is between the thumb and index finger, with support from the other fingers. Another important factor with the thumb is where it’s placed laterally on the thumbrest. If too close to the tip of the thumb, the other fingers may be too flat, and the force placed on the thumb will be greater (since the thumb is acting as a lever). However, if the thumbrest is positioned too far down the thumb, the other fingers may be excessively curved. Ultimately, hand size and finger length will determine the most comfortable position of the thumb, as well as the position of the thumbrest. Since everyone’s hands are different, these positions will be slightly different for each individual player.

Neck straps have become more popular over the last few decades. Two types are available: elastic and rigid. The elastic straps have some give that allows an adjustable amount of support. Rigid straps are similar to saxophone neck straps in that they fully support the weight of the instrument at a given length. If you are experiencing thumb, wrist, or arm pain or fatigue, consider trying a neck strap to relieve some of the weight of the instrument from your right hand. Note that when using a neck strap, the force of the instrument’s weight is redistributed to the neck, so you need to pay close attention to posture to avoid other potential issues.

LEFT HAND

Although the left hand does not support the clarinet when playing, it does encounter unique difficulties during performance. The thumb covers the thumb hole (F) with its fleshy section while the inner edge actuates the register key at about the 1:00 or 2:00 position. The index finger is responsible for covering the E/B tone hole and operating the A and GÏ keys. When the index finger presses either of these keys, it must rock backwards, maintaining the position of its tip over the top tone hole. Ideally, the index finger should be able to cover the this tone hole while pressing either the A or GÏ keys. The middle finger is only responsible for covering the second tone hole. The ring finger covers the only non-ringed tone hole on the clarinet, at least on the standard Boehm clarinet. It also operates an alternate EÌ/BÌ sliver key. The little finger, as with the RH, operates the four LH keys.

If the hands and arms are completely relaxed and allowed to hang to the side, the hand will form a “C” shape. This position should be applied directly to the clarinet, with the body of the instrument fitting in the open part of the hand between the thumb and fingers. From this position, the fingers are able to move freely and the hand is not contorted in a manner that obstructs motion.

The motion of the fingers will play a crucial part in technique development. The fingers should move at the largest joint—the third joint from the tip of the finger. The remainder of the finger should be curved slightly, as the fingers do naturally when they are relaxed. The fleshy part of the finger should make complete contact with the instrument, particularly when covering open holes. Using the extreme tip of the finger gives us very little room for error with the contact point before leaks develop.

When the fingers are flat, the fleshy part of the finger has difficulty making contact with the tone hole. Using the fleshy part of the finger allows us to maintain the natural curvature of the fingers when they are relaxed. This curvature should be maintained at all times. Effort should be made to avoid letting the knuckles collapse: flattening the fingers. This usually results when too much pressure is being used to cover the tone hole, which can happen after long practice sessions, when trying to master a difficult passage, or when a student is trying to get a note to speak.

With a properly functioning and maintained clarinet, only a minimum amount of finger pressure will be required to cover the tone hole adequately. When closing holes or activating a key, think of “pressing” lightly. When opening or disengaging a key, think of “releasing” the key or tone hole. Never slam the fingers. If too much force is used, it will be impossible to play fast technical passages. Additionally, excess finger pressure may cause the fingers to slide off open tone holes or accidently open an adjacent key (particularly the sliver keys).

For a more thorough examination of finger motion and hand position, see “An Investigation of Finger Motion and Hand Posture during Clarinet Performance” by Stefanie Harger.¹

NECK STRAP (JENNIFER BRANCH)

After 25 years of playing happily without using a neck strap, I had an injury on my right wrist that made me look for a solution to reduce the weight of the instrument on my right thumb. While this is not everyone’s situation, it has shed light on some unexpected benefits I have found to using a neck strap. This is not an endorsement for any particular brand, nor is it suggesting that using a neck strap is right for everyone.

ERGONOMIC

Contrary to the idea that the right thumb’s role is merely to vertically oppose gravity, by using a neck strap the right thumb in fact can engage more a horizontal role, by pushing the instrument away. Neck straps create a fulcrum where the left hand pulls close, and the right-hand pushes. I have found the natural fulcrum tilt that the clarinet does by “correcting” its position will naturally bring the mouthpiece to rest on the top teeth, further inviting more of an active and engaged lower lip “hug.” By adjusting the height of the neck strap to allow the neck and shoulders to remain our tallest while still having relaxed posture, we may additionally reduce strain that might be affiliated with bringing our body to the instrument.

PEDAGOGICAL

In my years teaching a number of young clarinetists, one thing is sure: there are many types of hand positions; some students cover the holes easily, while many struggle when the “honeymoon” period of left-hand-only-songs is over. The moment low G, F, and E are introduced, some students breeze easily into the low-note world, while others struggle to cover the holes, or stretch their fingers wide enough, or keep their fingers flat enough so no air escapes. Often, I have found that for those students who struggle, using a neck strap brings more success. These successes are what keep them coming back. Each success breeds enthusiasm to meet the next hurdle, until it’s not a hurdle anymore.

LEFT THUMB/POINTER “ROCK AND ROLL” (JENNIFER BRANCH)

LEFT THUMB: ROCK

Often students create a gap in their sound over the register break simply because their left thumb is either “on” the register key or “off.” This can require the thumb to slide unnecessarily high on the register key, leaving the smallest margin for any remaining thumb to simultaneously cover the tone hole for F. Instead, view the role of the left thumb as one to “rock” onto the register key while mostly covering the hole. Only the smallest amount of thumb (little more than the nail) should rock onto the register key.

LEFT POINTER: ROLL

Perhaps the left thumb appears to have ideal motion, yet there still remains a gap in the sound when the young student encounters the break. Close watch of their hand position may reveal that their left pointer finger may lift off the top tone hole before moving to the A key. Rather than viewing these two keys as two separate maneuvers, the student can try exercises to practice a “roll” (always inside a slur). Start from FÏ to A, then add one finger at a time: E “rolls” to A, then D to A. etc. This simple exercise will certainly help the student understand the motion of the left pointer in order to make the break smooth.

CLARINET ANGLE (JULIANNE KIRK DOYLE)

Clarinet angle varies from player to player based on teeth and jaw position. While consulting with a student battling soft palate air leak fatigue, we discovered a number of fundamental elements that impacted efficiency. The most prevalent was the clarinet angle. The student was holding the clarinet out too far and additionally dipping their head with inefficient movements. This compromised ease of voicing the tone. The angle of the mouthpiece into the mouth varied so drastically phrase to phrase and sometimes note to note that the student was constantly adjusting internally to maintain the tone concept in their head. These adjustments were either by biting or tightening the throat which led to great fatigue and lack of endurance. To find the correct angle, we utilized the “lever exercise,” which I first learned from David Etheridge.

LEVER EXERCISE:
USE A CLARION F

• Begin with the clarinet at 90 degrees with the eyes looking forward (upper lip/teeth on mouthpiece, lower lip/jaw not in contact).
• While blowing, bring the instrument down until the reed makes contact with the lower lip (do not adjust the head)—at this point the tone will likely be a little spread and uncontrolled.
• Continue to bring the angle in until its too close to the body—this will sound a bit pinched.
• Meet in the middle and find where the tone opens up and the embouchure feels easy and efficient without much manipulation to voice the sound.
• The overbite/underbite of the player determines the optimal angle of the instrument for efficient control.

This exercise allows the player to discover an easy and efficient angle and encourages consistency of head position while playing. Movement while playing is acceptable as long as it does not impede our fundamentals of sound production.

STRUCTURING YOUR PRACTICE—MENTAL PREPARATION AND GOAL SETTING (PAMELA SHULER)

When one thinks about the important items to include in beginning clarinet instruction, items such as instrument assembly, holding the clarinet, embouchure, articulation, and air support often come to mind. Along with these items, it can be beneficial to include information on how to structure and organize practice sessions. While it can be fun to engage in “run the piece” type of practice, this can lead to mental exhaustion and frustration as a clarinetist might not see forward progress utilizing this approach. Goal setting, using goals to plan practice, and reflection are important aspects of practice that allow a clarinetist to see improvement and avoid the mental burnout that can come with lengthy practice sessions.

The first step, when starting a new etude, piece, or musical work, can be identifying potential challenges. In a practice log or journal, record specific goals, with challenges in mind, to work towards. Are there specific fundamental and musical concepts that should be built into practice? Are there areas of the music that would benefit from development and expansion of range, articulation, or finger technique? Is there a goal tempo to work towards? To see the small steps that are necessary to accomplish large goals, it is important to identify opportunities for growth and then develop a plan to break down elements into manageable goals that can be accomplished and measured in each individual practice session. This goal-oriented practice can help a clarinetist feel prepared and confident.

Going into practice sessions blindly presents difficulty in knowing what one wants to achieve. Setting realistic and achievable goals for each area of practice allows for structure in practice, and later reflection. For many, exploring how to break down a longer practice session can help provide structure and focus. If you start with a length of time, creating even a rough time frame of how long to spend on various elements of practice can ensure that all material is covered.

If a goal is not achieved, reflection, refocus, and exploring fresh approaches can help establish ownership of the process. While larger goals take time, reflecting on progress and checking in on smaller daily steps can help an individual acknowledge small accomplishments and avoid a feeling of stagnation. Daily and weekly reflection can also help a musician change practice strategies during the process and find a healthy perspective.

ENDNOTES

1     Stefanie Harger, “An Investigation of Finger Motion and Hand Posture during Clarinet Performance,” DMA diss., Arizona State University, 2011.

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