When asked what aspects of the joint higher clarinet correct, it is possible that many “language list” as the number of a focal point – and it would be wrong. Indeed, the clarinet articulation is more dependent on adequate air support. The areas to work in regard to becoming a main articulator are:
1. Air support – Many clarinetists allow air to slip back into his lungs in between the notes articulated. I can only imagine that this comes from hearing tonguing taught brass players (for example) and / or inadequate instruction. As the water remains behind the thumb when the thumb is placed at the end of a hose with running water, the air must remain behind the tongue during the quiet parts of multiple articulated notes. The language, therefore, takes on the personality of thumb with regard to prevention of sound for granted against the rod and prevent vibration of reed. A great way to practice this important aspect is to start putting the tongue against the reed, well-supported breathing, and blowing – but never taking the language out of the cane. This feeling is similar to the feeling of playing a long note, only without sound. The clarinetist would then take the language quickly out of the rod (without changing the air – continuing support!), Which produces a sound. Then the clarinetist quickly put the tongue on the tip of the rod that stops the sound, however, air support should never fail. The musician must maintain a pressure of air support all the time. This is called the arrest a “tonguing exercise.
2. Position of the tongue – the entire language must remain relaxed and loose. The tip of the tongue must touch the rod just below the tip at the bottom of the cane. Only the tip must be moved during articulated passages, and the rest of the tongue should rest comfortably on the middle of the oral cavity. Although there is a tendency to maintain an “E” position at the back of the throat, this must be watched closely to prevent a bright, less focused sound. Some students might tend to maintain an “AH” position at the back of the throat, but being “too open” could cause the notes to the highest scores not because of the vocals seem incorrect. Other problems with the tongue position are:
a. anchor tonguing (placing the tip of your tongue behind your front teeth and touch the reed with the middle portion of the tongue),
b. tonguing blow (to play a large part of the rod with a large part of the language – sometimes you can actually see the tongue between the lips look during articulated passages),
c. Jawing (using the jaw to affect the sound instead of actually touching the reed with the tongue)
d. articulation of the throat (the closing of the throat to stop the sound instead of actually touching the reed with the tongue – you hear a grunt in the process of tonguing)
e. huffing (with gusts to start / stop sound – this is sometimes instead of touching the tongue to the times of cane and others in connection with playing the line).
3. Embouchure – The chin and jaw should not move during the process of tonguing. A perfect clarinet mouthpiece should be maintained at all times. When air velocity is correct, it will be easier to keep the back of the tongue / throat still and just move the tip of the tongue. Clarinetists that moving the jaw or chin during the passages of language often are not pushing enough air through the horn and you are more likely to move much of the language.
Learn the correct techniques for clarinet tonguing can remove a player from another clarinet. Using correct articulation allows it starts and stops in front of diffuse sharp, curved, or delayed sounds. Students often provide the correct answers to questions regarding your tonguing, so we must listen and understand what sounds like incorrect technique.
No matter the style of joint calls (is legato staccato, Marcato, etc.), the underlying fundamentals remain the same: the use of air support through the whole sentence, push the air forward thinking of the analogy of the hose water, keep the tongue relaxed, use only the tip of the tongue, and sustain a business / Set mouthpiece.

Related posts:

1. An Introduction to Brass and Woodwind Musical Instruments
2. Suzuki CL-SC Clarinet
3. The history of the clarinet