Klarinet Archive - Posting 000812.txt from 1999/06

From: Jack Kissinger <kissingerjn@-----.EDU>
Subj: Re: [kl] over the break
Date: Mon, 28 Jun 1999 09:36:37 -0400

Despite David Glenn's admonitions (and, at the risk of sending innumerable
traumatized children, including my daughter, to psychiatric wards ;^) ), I
will take a shot at this. I would appreciate it if the acousticians among us
would correct me if I am imprecise or incorrect, particularly in my technical
terminology:

It seems to me there are two ways of describing "break(s)," a technical one
and a practical one. The technical one describes what's happening and the
practical one explains how to make it happen or indicates where it happens.

The technical explanation, as far as I can deduce from previous threads, is
that the first break occurs where one shifts from playing fundamental tones to
(first series?) overtones. The practical way it is accomplished is by opening
the register key so that the first overtone sounds. It can also often be
accomplished (sometimes inadvertently ;^( ) by "overblowing." On a clarinet,
the location is between the "throat" Bb' and the clarion (long fingering) b'
(the lowest note in the clarion register of the standard Boehm clarinet).

On a clarinet, the second break occurs where one shifts from the clarion
register (first series overtones?) to the beginning of the altissimo register
(third series overtones?) . This is usually defined practically as the point
where one moves from (high) clarion c''' to altissimo c#''' though it is
possible to play at least down to b'' with "altissimo" fingerings. The
common practical way to cross this break (i.e., bring out the third(?)
overone series), is to open the first finger hole of the left hand as well as
the register key. Conceptually, it would seem logical that there are higher
breaks as well. In the altissimo range, we have alternate fingerings based on
higher series (i.e., 5 and above?) overtones. As a practical matter, however,
since they are all in the altissimo range, I suspect most clarinetists don't
think about such "breaks" though they may think about overtone series when
trying to devise an alternate fingering.

It seems to me that the term also applies to the saxophone with the first
practical "break" occuring between open c#'' and (clarion?) d'' (though it is
possible to play Bb', b' and c" as clarion notes). As far as where the second
break occurs, theoretically, it would seem to be between a" and Bb". Where is
it practically? You tell me. Many saxophones now go up to f#''' (and some as
high as g''') without requiring the player to cross the second "break" (I
don't hang out much in that range, though. I am one of those low-lifes who
taught himself to play sax in a couple of hours ;^) and has never gone on to
master those nuances).

Best regards,
Jack Kissinger
St. Louis

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