I have had a wonderful practice session on the Tarantella by St. Saens! Amazing how long it has been since I delved into the intricacies of this particular dance form and the musical expression it entails.
I am going to the Russianoff
method (Volume 1 and 2) and reinventing the tongue, cue, release concept. Most do not understand the motions involved in just a simplistic movement from one note to the next and how even the slightest miscue can throw an entire passage off the mark. Finger height and movement is essential to precise accuracy and even a smooth legato. Mr. Marcellus spoke of and pushed the concept of “Heavy Fingers”, especially in the Rose Rode’ etudes and studies. There is nothing flimsy in this approach and it emphasizes a firm approach to fingering, not necessarily heavy handed, with absolute control on finger motion and stability of action.
There are actually 5 different moves in a single tonguing action on the Clarinet. Tongue, Cue, Release is a mere synopsis in comparison. More on this later.
After a more hearty approach to tongueing, I am backing off and working on the light touch of the tongue against the reed, perhaps that will begin the fix on articulation I am so desperately seeking.