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Clarinet Lessons: Diaphragm

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One other important part
about developing the sound is
using your diaphragm to breathe.
It's very difficult to explain, or
just make sure that when you are taking
a breath that you can say alright you can
expand your stomach and bring it back out.
I think that is a way of doing it but
I think a more natural
way of figuring out how
we breathe naturally is
by obviously laying down, laying down
reading a book just looking up and
try to just breath normally for
about five, ten minutes.
And you will see that you will notice just
like babies that when they are sleeping
all you see is their diaphragm expanding
so basically their stomach is moving.
[SOUND] That's where we have to do.
Most of the time, one of the things
we really have to address while
playing the clarinet is how to always
try to come back to what is natural.
We, because of the embouchure, the reed,
the position the difficult music,
we tend to get into a place where
we forget the fundamentals and
the fundamentals are basically how to
try to make sure that the clarinet
is always a part of your being.
So, it's connected to our every action.
So then when we breathe we have
to always think diaphragm and
not even think of it as a diaphragm,
but think of expanding the air.
Now, I would say also that
goes to thinking about breathing I would
say most of the time try to breath
through your mouth instead of through your
nose because when we go through the nose,
the nostrils aren't definitely
not as big as our throat and
therefore we cannot get as much air in
that and as quickly amount of time.
And so we will always try
to do it through the mouth,
but you see keeping
the side of the mouth out.
So then we can maintain the embouchure so
we can go.
The side,
if we use it through the side,
then we can actually keep
most of our embouchure in place.
There are other schools of thought where
we blow in quarters to breathe and
just relax the jaw.
Which it's a way of thinking about
relaxing but the only thing that
I found that is problematic with that way
is that every single time you breathe and
bring back your embouchure you are
bringing it to a slightly different place.
And the reed has taking
away from the point of
the fulcrum and where it is actually
getting the tension for it to vibrate.
So then it's changing and therefore it's
not necessarily the best way to maintain.
A clear sound every single time you breath
for all the passive work that we need.
So that breathing should be
always musically minded but
that then every single time
that we have to take a breath,
we should not be completely
changing the quality of the sound.