Harri Mäki - Versionsgeschichte

Fawinike am 6. April 2021 um 13:39 Uhr

2021-04-06T13:39:25Z

← Nächstältere Version		Version vom 6. April 2021, 15:39 Uhr
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	~~[[Category:Interviews in English]]~~
	{{SORTIERUNG:Mäki, Harri}}		{{SORTIERUNG:Mäki, Harri}}
	[http://harrimaki.com Harri Mäki ], Professor of Woodwinds at the Sibelius Academy and former Solo Clarinet of Tapiola Sinfonietta, gave this interview on 18th of February 2017 in Zurich. The transcription is supplemented with notes from the masterclasses given at 16th and 17thth of November 2019 in the Lucerne University of applied sciences, and has been edited by Heinrich Mätzener.		[http://harrimaki.com Harri Mäki ], Professor of Woodwinds at the Sibelius Academy and former Solo Clarinet of Tapiola Sinfonietta, gave this interview on 18th of February 2017 in Zurich. The transcription is supplemented with notes from the masterclasses given at 16th and 17thth of November 2019 in the Lucerne University of applied sciences, and has been edited by Heinrich Mätzener.
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	[[Kategorie:Interviews\|Mäki, Harri]]		[[Kategorie:Interviews\|Mäki, Harri]]
			[[Kategorie:Interviews in English\|Mäki, Harri]]
	[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]		[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]

Fawinike am 6. April 2021 um 13:39 Uhr

2021-04-06T13:39:12Z

← Nächstältere Version		Version vom 6. April 2021, 15:39 Uhr
Zeile 1:		Zeile 1:
	[[Category:Interviews]]		[[Category:Interviews in English]]
	~~[[Category:~~English]]
	{{SORTIERUNG:Mäki, Harri}}		{{SORTIERUNG:Mäki, Harri}}
	[http://harrimaki.com Harri Mäki ], Professor of Woodwinds at the Sibelius Academy and former Solo Clarinet of Tapiola Sinfonietta, gave this interview on 18th of February 2017 in Zurich. The transcription is supplemented with notes from the masterclasses given at 16th and 17thth of November 2019 in the Lucerne University of applied sciences, and has been edited by Heinrich Mätzener.		[http://harrimaki.com Harri Mäki ], Professor of Woodwinds at the Sibelius Academy and former Solo Clarinet of Tapiola Sinfonietta, gave this interview on 18th of February 2017 in Zurich. The transcription is supplemented with notes from the masterclasses given at 16th and 17thth of November 2019 in the Lucerne University of applied sciences, and has been edited by Heinrich Mätzener.
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	HMäki: Yes! It is almost impossible to describe, but my feeling that what would happen is, that the middle of the tongue goes up (when playing a not in the clarion register) and starts to push the air in front of the teeth . And when the middle of the tongue goes up, the back of the tongue goes down, so the throat opens (imitates it by making an increasing hissing sound by changing the tongue position, imitation the difference between chalumeau and clarion register). And then you also move a bit the lower lip towards front when you play higher register, because there are three different positions [of the embouchure line om the reed] at least: low, middle and high register. So, you do all of the three things together, too much at the beginning to make a point; but very, very little in the end.		HMäki: Yes! It is almost impossible to describe, but my feeling that what would happen is, that the middle of the tongue goes up (when playing a not in the clarion register) and starts to push the air in front of the teeth . And when the middle of the tongue goes up, the back of the tongue goes down, so the throat opens (imitates it by making an increasing hissing sound by changing the tongue position, imitation the difference between chalumeau and clarion register). And then you also move a bit the lower lip towards front when you play higher register, because there are three different positions [of the embouchure line om the reed] at least: low, middle and high register. So, you do all of the three things together, too much at the beginning to make a point; but very, very little in the end.

	~~[[Kategorie:English\|Mäki, Harri]]~~
	~~[[Kategorie:Interviews\|Mäki, Harri]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]~~

	===Finding the best resonance fingerings===		===Finding the best resonance fingerings===
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	Fingering for b'flat: if possible, play with the a' key open, and take the b'flat-trill-key right hand, this gives a rounder, freer sound.		Fingering for b'flat: if possible, play with the a' key open, and take the b'flat-trill-key right hand, this gives a rounder, freer sound.

	~~[[Kategorie:English\|Mäki, Harri]]~~
	~~[[Kategorie:Interviews\|Mäki, Harri]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]~~

	==Articulation==		==Articulation==
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	HMäki: You have to practice with the mouthpiece only and then you minimize the “quakquak” due to the tongue position of a bad consonant. You try to make a bad consonant and a good consonant sounding exactly the same. (demonstrates it) It usually works better also.		HMäki: You have to practice with the mouthpiece only and then you minimize the “quakquak” due to the tongue position of a bad consonant. You try to make a bad consonant and a good consonant sounding exactly the same. (demonstrates it) It usually works better also.

	~~[[Kategorie:English\|Mäki, Harri]]~~
	~~[[Kategorie:Interviews\|Mäki, Harri]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]~~

	==Finger technique==		==Finger technique==
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	HMäki: Yes. If I have to play legato D to G, I press / release the right-hand fingers. If I have to play G to D, down way, I first move the fingers in the opposite direction. This is from a teacher in Curtis Institute. So, they call it Curtis Institute legato in America: press, release, golf! Some kind of opposite force, so you are aware of your fingers. And it really honestly helps for a legato.		HMäki: Yes. If I have to play legato D to G, I press / release the right-hand fingers. If I have to play G to D, down way, I first move the fingers in the opposite direction. This is from a teacher in Curtis Institute. So, they call it Curtis Institute legato in America: press, release, golf! Some kind of opposite force, so you are aware of your fingers. And it really honestly helps for a legato.

	~~[[Kategorie:English\|Mäki, Harri]]~~
	~~[[Kategorie:Interviews\|Mäki, Harri]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]~~

	==Breathing==		==Breathing==
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	The student plays a low e at full volume, in forte. The clarinet is raised, and a person holds a piece of paper in front of the bell. The paper does not react, as expected, to air escaping from the bell, but remains motionless. This means that at high volume there is practically no air flowing through the instrument. It is therefore not necessary to force a large amount of air into the instrument.		The student plays a low e at full volume, in forte. The clarinet is raised, and a person holds a piece of paper in front of the bell. The paper does not react, as expected, to air escaping from the bell, but remains motionless. This means that at high volume there is practically no air flowing through the instrument. It is therefore not necessary to force a large amount of air into the instrument.

	~~[[Kategorie:English\|Mäki, Harri]]~~
	~~[[Kategorie:Interviews\|Mäki, Harri]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]~~

	==Posture==		==Posture==
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	HMäki: No! it’s a terrible idea! Like this a very classical example the slow movement of Beethoven septet, and the other one is Beethoven first piano concerto second movement: it also has a D all the time in the melody and you have a lot of string players playing 442: you have to bring the D a little bit down but then the piano is coming and is playing the same D sounding concert C : it’s A-flat major, so it’s like you are to make so many choices in micro seconds all the time: so which intonation to follow? Where is it? And the strings can start a note like this (shows) but we have to play, we have no negotiation time. We have to just put it somewhere! So, it’s, especially for clarinet, because D [concert C] is very difficult to bring down.		HMäki: No! it’s a terrible idea! Like this a very classical example the slow movement of Beethoven septet, and the other one is Beethoven first piano concerto second movement: it also has a D all the time in the melody and you have a lot of string players playing 442: you have to bring the D a little bit down but then the piano is coming and is playing the same D sounding concert C : it’s A-flat major, so it’s like you are to make so many choices in micro seconds all the time: so which intonation to follow? Where is it? And the strings can start a note like this (shows) but we have to play, we have no negotiation time. We have to just put it somewhere! So, it’s, especially for clarinet, because D [concert C] is very difficult to bring down.

	~~[[Kategorie:English\|Mäki, Harri]]~~
	~~[[Kategorie:Interviews\|Mäki, Harri]]~~
	~~[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]~~

	==Learning and practicing rules==		==Learning and practicing rules==
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	<references />		<references />

	~~[[Kategorie:English\|Mäki, Harri]]~~
	[[Kategorie:Interviews\|Mäki, Harri]]		[[Kategorie:Interviews\|Mäki, Harri]]
	[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]		[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]

Heinrich: /* Breathing */

2021-01-20T20:12:08Z

Breathing

← Nächstältere Version		Version vom 20. Januar 2021, 22:12 Uhr
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	<br>		<br>
	First, exhale heartily. Breathe in in three steps:		First, exhale heartily. Breathe in in three steps:
	# begin to ~~blow~~ the air in several steps, first on vowel, o-o-o-o-o,		# begin to inhale the air in several steps, first on vowel, o-o-o-o-o,
	# then to a-a-a-a-a		# then to a-a-a-a-a
	# then a few more small breaths, as many as possible, inhaling on vowel ee-ee-ee-ee until the lung volume is finally exploited to its full capacity.		# then a few more small breaths, as many as possible, inhaling on vowel ee-ee-ee-ee until the lung volume is finally exploited to its full capacity.
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	The student plays a low e at full volume, in forte. The clarinet is raised, and a person holds a piece of paper in front of the bell. The paper does not react, as expected, to air escaping from the bell, but remains motionless. This means that at high volume there is practically no air flowing through the instrument. It is therefore not necessary to force a large amount of air into the instrument.		The student plays a low e at full volume, in forte. The clarinet is raised, and a person holds a piece of paper in front of the bell. The paper does not react, as expected, to air escaping from the bell, but remains motionless. This means that at high volume there is practically no air flowing through the instrument. It is therefore not necessary to force a large amount of air into the instrument.

			[[Kategorie:English\|Mäki, Harri]]
			[[Kategorie:Interviews\|Mäki, Harri]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]

	==Posture==		==Posture==

Heinrich: /* Practice double tonguing with the mouthpiece only */

2021-01-03T20:44:35Z

Practice double tonguing with the mouthpiece only

← Nächstältere Version		Version vom 3. Januar 2021, 22:44 Uhr
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	HMäki: And I teach a lot of double tonguing because I noticed that people get much faster with their normal tonguing if they are learning double tonguing. So, you can stop double tonguing after a while.		HMäki: And I teach a lot of double tonguing because I noticed that people get much faster with their normal tonguing if they are learning double tonguing. So, you can stop double tonguing after a while.
	<br><br>		<br><br>
	# Practice only on the mouthpiece at first ~~Watch~~ the response of the sound carefully, the tone should sound directly in the correct intonation.		# Practice only on the mouthpiece at first watch the response of the sound carefully, the tone should sound directly in the correct intonation.
	# "Ga" with metronome, first practice slowly in the offbeat. In this way the quality can be controlled and heard exactly, because the tone does not sound simultaneously with the metronome. Pay attention to the regularity of the articulation.		# "Ga" with metronome, first practice slowly in the offbeat. In this way the quality can be controlled and heard exactly, because the tone does not sound simultaneously with the metronome. Pay attention to the regularity of the articulation.
	# increase tempo		# increase tempo
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	<br><br>		<br><br>
	HMäki: You have to practice with the mouthpiece only and then you minimize the “quakquak” due to the tongue position of a bad consonant. You try to make a bad consonant and a good consonant sounding exactly the same. (demonstrates it) It usually works better also.		HMäki: You have to practice with the mouthpiece only and then you minimize the “quakquak” due to the tongue position of a bad consonant. You try to make a bad consonant and a good consonant sounding exactly the same. (demonstrates it) It usually works better also.

			[[Kategorie:English\|Mäki, Harri]]
			[[Kategorie:Interviews\|Mäki, Harri]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]

	==Finger technique==		==Finger technique==
	===Holding the clarinet===		===Holding the clarinet===

Heinrich: /* Intonation */

2020-12-29T18:36:41Z

Intonation

← Nächstältere Version		Version vom 29. Dezember 2020, 20:36 Uhr
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	<br><br>		<br><br>
	'''Exercise'''		'''Exercise'''
	[[Datei:Int My Favorite Things.png\|mini\|links\|Richard Rodgers "My Favorite Things", Intonationsübung nach Harri Mäki]] ~~Change chromatically up– and downwards~~		[[Datei:Int My Favorite Things.png\|mini\|links\|Richard Rodgers "My Favorite Things", Intonationsübung nach Harri Mäki]]
	~~<br>~~		You make the sound machine player low C or your colleague. And on top of it you play (sings) And you make sure that each interval is in tune. But you don’t correct it during the process, you do it once through and then all over again. I learned this from Frank Morelli who is a Bassoon teacher in Juilliard. He learned it from the saxophone class.
	You make the sound machine player low C or your colleague. And on top of it you play (sings) And you make sure that each interval is in tune. But you don’t correct it during the process, you do it once through and then all over again. I learned this from Frank Morelli who is a Bassoon teacher in Juilliard. He learned it from the saxophone class.
	And when I get a new instrument, I always go through my whole instrument, chromatically through with this exercise, so I learn its particularities.		And when I get a new instrument, I always go through my whole instrument, chromatically through with this exercise, so I learn its particularities.
	<br><br>		<br><br>

Heinrich: /* Intonation */

2020-12-29T18:35:22Z

Intonation

← Nächstältere Version		Version vom 29. Dezember 2020, 20:35 Uhr
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	<br><br>		<br><br>
	'''Exercise'''		'''Exercise'''
	[[Datei:Int My Favorite Things.png\|mini\|links\|Richard Rodgers "My Favorite Things", Intonationsübung nach Harri Mäki]]		[[Datei:Int My Favorite Things.png\|mini\|links\|Richard Rodgers "My Favorite Things", Intonationsübung nach Harri Mäki]] Change chromatically up– and downwards
	~~<br>~~
	Change chromatically up– and downwards
	<br>		<br>
	You make the sound machine player low C or your colleague. And on top of it you play (sings) And you make sure that each interval is in tune. But you don’t correct it during the process, you do it once through and then all over again. I learned this from Frank Morelli who is a Bassoon teacher in Juilliard. He learned it from the saxophone class.		You make the sound machine player low C or your colleague. And on top of it you play (sings) And you make sure that each interval is in tune. But you don’t correct it during the process, you do it once through and then all over again. I learned this from Frank Morelli who is a Bassoon teacher in Juilliard. He learned it from the saxophone class.

Heinrich: /* Intonation */

2020-12-29T18:34:49Z

Intonation

← Nächstältere Version		Version vom 29. Dezember 2020, 20:34 Uhr
Zeile 294:		Zeile 294:
	<br><br>		<br><br>
	'''Exercise'''		'''Exercise'''
	[[Datei:Int My Favorite Things.png\|mini\|links\|Intonationsübung Harri Mäki ~~"My Favorite Things““~~]]		[[Datei:Int My Favorite Things.png\|mini\|links\|Richard Rodgers "My Favorite Things", Intonationsübung nach Harri Mäki]]
	<br>		<br>
	Change chromatically up– and downwards		Change chromatically up– and downwards

Heinrich: /* Intonation */

2020-12-29T18:23:06Z

Intonation

← Nächstältere Version		Version vom 29. Dezember 2020, 20:23 Uhr
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	<br><br>		<br><br>
	'''Exercise'''		'''Exercise'''
	[[Datei:My Favorite Things.png\|mini\|links\|Intonationsübung Harri Mäki "My Favorite Things““]]		[[Datei:Int My Favorite Things.png\|mini\|links\|Intonationsübung Harri Mäki "My Favorite Things““]]
	<br>		<br>
	Change chromatically up– and downwards		Change chromatically up– and downwards

Heinrich: /* Legato fingers */

2020-11-18T23:05:42Z

Legato fingers

← Nächstältere Version		Version vom 19. November 2020, 01:05 Uhr
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	''HM: You put first your fingers “into the clarinet”, and then release?''		''HM: You put first your fingers “into the clarinet”, and then release?''
	<br><br>		<br><br>
	HMäki: Yes. If I have to play legato D to G, I press / release the right-hand fingers. If I have to play G to D, down way, I first move the fingers in the opposite direction. This is from a teacher in Curtis Institute . So, they call it Curtis Institute legato in America: press, release, golf! Some kind of opposite force, so you are aware of your fingers. And it really honestly helps for a legato.		HMäki: Yes. If I have to play legato D to G, I press / release the right-hand fingers. If I have to play G to D, down way, I first move the fingers in the opposite direction. This is from a teacher in Curtis Institute. So, they call it Curtis Institute legato in America: press, release, golf! Some kind of opposite force, so you are aware of your fingers. And it really honestly helps for a legato.



			[[Kategorie:English\|Mäki, Harri]]
			[[Kategorie:Interviews\|Mäki, Harri]]
			[[Kategorie:Seiten mit defekten Dateilinks\|Mäki, Harri]]

	==Breathing==		==Breathing==

Heinrich: /* Finding the best resonance fingerings */

2020-11-16T10:33:04Z

Finding the best resonance fingerings

← Nächstältere Version		Version vom 16. November 2020, 12:33 Uhr
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	===Finding the best resonance fingerings===		===Finding the best resonance fingerings===
	[[Datei: Resonance Fingerings.png\|mini\|x300px\|links\|Harri Mäki, Fingering Chart]]		[[Datei: Resonance Fingerings.png\|mini\|x300px\|links\|Harri Mäki, Fingering Chart]]
	[[Datei:Bflat Resoancan fingering.png\|mini\|~~x100px~~\|rechts\|B-flat, altern.]]		[[Datei:Bflat Resoancan fingering.png\|mini\|x120px\|rechts\|B-flat, altern.]]
	The use of special fingerings aims to amplify the overtone component of a sound, and thus its projection in a larger hall.		The use of special fingerings aims to amplify the overtone component of a sound, and thus its projection in a larger hall.
	<br>		<br>