Phillip Rehfeldt recommends adjustments in lip pressure, oral cavity shape, and throat opening to produce a lower pitch from the fingering employed. Hey, thanks for your input.
Now if you formed this tongue, try to blow wind just like if you would play on the clarinet. Slide the remaining fingers of from the keys in the same manner until the final note in the glissando is reached.
Play your starting note, then the destination note. Used by kind permission. This proves that, even subconsciously, you're adjusting yourself to match the pitch of the note you want to play.
Just I forgot to mention that all so called "possible" glissandos sholud be concidered as "difficult". The music of Eonta effectively combines steady pitches with slow portamenti, creating a marvelous, constantly changing rate of acoustical beating.
If you go to play altissimo F but in your mind you're hearing the E right below, the F will go monstrously flat. To do it, I just try to form my tongue just like if I'm trying to pronounce "kuh". How can I gliss? Hear what those two pitches sound like, how much of an interval you need to cover, and know how both of the notes feel in your embouchure.
Bb sounds way too high, no doubt some pros can do it but I'll set G as higher in the chart. I slide up to an A and from there I just let the tongue do the work to C. Glissing is basically taking that bendiness and dialing up to 11 through vulgar amounts of motion in the embouchure.
How to Do Vocal Warmups on the Piano. The long portamento that Phan writes in the introduction of My Language for clarinet and piano is not difficult to play, even though it is at a slow tempo, because it is written with a cresc.
How to Tune a Recorder Instrument. Every instrument is different and has different release points.