ClarinetMike’s Clarinet Teacher Tips: Improve Your Sound – PROJECT!

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ClarinetMike Projecting His  Sound!

The below will help a student (or pro!) sound better on any performance, including a music jury or an ALL-STATE AUDITION.  ClarinetMike says, “Project Your Sound!”

Clarinet Sound Projection
by
Dr. Michael Dean

“Andy! Pretend I’m on the back row of the hall and I’m half-deaf
from going to a loud concert. I want to hear your clarinet solo.
So play that solo straight to me.”

We’ve all heard and said similar things about sound projection to our students. We realize the importance of getting the sound out to the audience. Unfortunately, in the mad dash of preparing our students to perform we often neglect or under-emphasize this important concept.

Many of the important things I work on with my students (such as relaxation, articulation, etc.) can be tricky to explain and take a long time to achieve significant results. However, sound projection is much easier to teach and gets results much more quickly.

The following is a look at some ideas on sound projection and some suggestions on teaching them to clarinetists as a section and/or soloist. Most of these ideas will be useful to other instruments as well.

Know Your Place (Solo vs. Ensemble Sound)

We have all been to a junior high band festival and heard the 1st chair clarinet (or trumpet, etc.) play a solo that didn’t get off the stage – it had that “young band solo sound.” The main problem (other than possibly performance anxiety – a topic for another day) is that the student has likely not been consistently taught to get the sound out to the audience (i.e. the judges). He or she is not playing with a “Solo” sound.

My band director in graduate school, Allan McMurray, used to speak about the difference between performing with a “Solo” sound vs. an “Ensemble” sound. A “Solo” sound is a tone that zips right off the stage and straight to the audience. An “Ensemble” sound is one that blends and appropriately fits into the whole group. (The ensemble should project its sound, but it does so as a unit in support of the solos, etc.)

We can expand the concept of “Solo” sound to include a “Soli” sound. This is where a small group (a clarinet section, for example) blends their sound together and then projects it out to the audience – like one huge clarinet soloist.

Using the 4 (or 8!) Laws to Teach Sound Projection

Legendary UCLA basketball coach John Wooden said,

“The four laws of learning are explanation, demonstration, imitation, and repetition. The   goal is to create a correct habit that can be produced instinctively under great pressure. To make sure this goal was achieved, I created eight laws of learning; namely, explanation, demonstration, imitation, repetition, repetition, repetition, repetition and repetition.” (Wooden, p. 144. Check out Wooden’s books – they are a life-changing treasure trove of genuine wisdom.)

Explanation

As per the above, explain to the students about the importance of good sound projection and the “Solo vs. Ensemble” sound distinction. Also, instruct them about how this relates to playing an ensemble soli with a “Soli” sound.

Also, I believe that it is much better to teach students to project the sound out to a specific point in the hall and NOT just a generalized “fill up the room with sound.”

Demonstration

You can demonstrate this easily with your voice or use an instrument.  Speak to the students in a non-projecting voice and then speak straight to a percussionist in the back row. Ask the students which one sounds better. If you could show them this in a large auditorium it would be even more effective.

Imitation

Have the students copy you with their voices. Have the clarinet section sing a prominent soli section of a work with a “Soli” sound. Be sure to have them blend their voices together and then project out together as “one big clarinet soloist.” I like to say, “lock arms mentally.” (FYI, I have found that having students sing the music, rhythm, etc. is a great way for them to learn.)

After they get the idea with singing, have them try it on their instruments. You may need to make corrections to improve this. (“Correction” is included in this law of learning, FYI.) Work to get them to sense how it sounds and even “feels” when they are projecting as a blended section soli or soloist.

Repetition

Talk about and work on sound projection often in rehearsals and lessons – I work on it a little in every one of my own practice sessions. (See clarinetmike.com/docs/Clarinet_Practice_Routine.pdf)

Also, when practicing in a small room, have the students pretend they are in a familiar large hall and play to a specific spot in the back.

Summary

In conclusion, I want to remind you that teaching students to project their sounds is really not difficult. However, I strongly urge you to mention this early and often in rehearsals, lessons, etc.  as you cannot just mention it at the “last minute” before a concert or contest.

I encourage you to think of new and creative ways to convey this information to your students. I would enjoy hearing about how you teach sound projection and I welcome any feedback on this topic (or anything else). I may be contacted at my professional website: clarinetmike.com.

(Thanks to the Texas Bandmasters Association for kind permission to reprint this article. The original article can be found HERE and appeared in the Bandmasters Review, Vol. 11. Issue 1 in September 2009.)

About ClarinetMike

American clarinetist MICHAEL DEAN performs and teaches internationally and across the USA to consistent praise such as "world-class clarinetist and pedagogue," "consummate performer," "inspirational," "outstanding teacher," "super," "brilliant performer," and "one of the best clinicians I have ever seen." His career is headlined by appearances at Carnegie Hall, ClarinetFest, NACWPI, Eastman School of Music, and Royal Northern College of Music with recent recitals and master classes in Italy, Spain, Kansas, Iowa, Missouri, Louisiana, and Texas. In July, he will return to Vipiteno, Italy as Clarinet Artist Faculty in Residence at Orfeo Music Festival 2017. He is featured on 5 commercial CD's and on New Media, such as YouTube. He is currently preparing another new clarinet CD, Postcards from Silver Lake. He's performed with the Southwest Symphony, Nevada Symphony, Abilene Philharmonic, Southeast Chamber Players, Red Mesa Trio, and Duo 35. He performed for 11 years with the Paducah Symphony. His articles appear in journals such as Southwestern Musician, WINDPLAYER, NACWPI Journal and The Bandmasters' Review. As "ClarinetMike," he writes for his widely-read ClarinetMike Blog, clarinetmike.wordpress.com-viewed in 150 countries on 6 continents. He was recently a tenured Associate Professor of Clarinet for 11 years at Southeast Missouri State University. He returned to his native Texas in 2012 due to family concerns. He is a past president and former National Board officer of the National Association of College Wind and Percussion Instructors (NACWPI). Dr. Michael Dean studied clarinet performance at Texas Tech University, University of Colorado at Boulder, University of Texas at Austin and University of Texas at Arlington. His teachers include Robert Walzel, Phil Aaholm, Carol Jessup, Jess Youngblood, Bob Ackerman, and Pam Youngblood. His web page, clarinetmike.com, features video of his teaching and performing as well as information on his CD's and other publications. He is a BG France Performing Artist.
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2 Responses to ClarinetMike’s Clarinet Teacher Tips: Improve Your Sound – PROJECT!

  1. Pingback: ClarinetMike’s Music Preparation Kit | ClarinetMike Blog

  2. Pingback: ClarinetMike’s Clarinet Teacher Tips: Five Ways to Improve Clarinet Tone Immediately! (or almost immediately) | ClarinetMike Blog

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