Klarinet Archive - Posting 000728.txt from 1999/10

From: "Antoine Clark" <CLARIGUY@-----.net>
Subj: Re: [kl] Eb Clarinet technique
Date: Sun, 24 Oct 1999 18:56:26 -0400

Andrew I have been playing Eb for almost three years in my school
symphonic wind ensemble. I am now a Senior and I took on the Eb when I was a
Sophomore. It was hard for me switching back and forth from Eb and Bb
because of the mouthpieces. When I first began Eb I was already having a
problem with biting on Bb. So it was really hard to play high on Eb. I would
naturally want to tense up when I played high passages. This habit has sense
died away but it took time.
My intonation is a million times better now. I think the best thing you
can do is practice Eb like you would Bb. In my teacher's studio we use a
specific tonguing exercise that works on legato tonguing and it covers the
range of the clarinet, so you get good work tonguing in all octaves. That
exercise has helped my tremendously on Eb. But the most important thing
about playing Eb in my mind is knowing how your instrument works. We all
know that the clarinet plays sharp when soft, especially on soft entrances
and flat when loud. So it would be good for you to exploit all different
kinds of fingerings to help with pitch control. I have gotten so much better
at listening in Band and using these fingerings that I am sometimes more in
tune then the flutes which does not speak well of the flutes. But my point
is that it takes time.
Now I also switch back and forth immediately on Eb. I am second chair in
the band, so sometimes I have to play Div. parts with the first
clarinetist. I only do this when there is nothing to play on Eb. But doing
this was hard for awhile. Going from smaller holes to bigger holes and vice
versa is hard. I most say that my Eb technique is only as good as my Bb
technique. You have to get adjusted to the small wholes but I think that you
need to treat Eb technical playing like you Bb. Practice scales and
arpeggios and all kinds of things on the instrument. I am only speaking from
my experience.
I noticed that you only mention problems with your altissimo register.
How is your throat register? When I tune on Eb I tune on G in the clarion
register. This G may be in tune but that is not the case when I play the
throat tone G. So when playing in band I have to make adjustments for
whatever register I am going to play in. You can sit down with a tuner to
see what I am talking about. Well I hope some of my problems have given you
clues to what is to come in the life of an Epher player.
----- Original Message -----
From: Andrew J Middup <Middup@-----.com>
Subject: [kl] Eb Clarinet technique

I have been lurking in the list for six months now and have thoroughly
enjoyed reading the debates and learning from the tremendous experience and
knowledge of list members. I hope that some of you may be able to give me
some guidance as I start to try to master the Eb clarinet which I have just
acquired .

The instrument is a second hand Noblet Artist model with a Yamaha mouthpiece
marked with the characters '7C'. The instrument appears to play well and has
been checked by my local instrument repairer and has no significant
problems.

I have been playing the soprano clarinet off and on for about forty years
and for the last ten years have also played the bass clarinet. I would
describe myself as a keen amateur currently playing in local orchestras,
bands and chamber groups.

I am very aware that the bass and sopranino are very different instruments
from the soprano clarinet. It took me about three years of regular playing
before I became reasonably proficient and confident after I acquired the
bass. Had I made better use of the resources available I am sure that this
period could have been reduced as my eventual success resulted from two
simple pieces of advice concerning mouthpiece selection and embouchure (+
practice and perseverance).

By getting good advice at the outset, I would like to try to reduce the time
needed to become proficient on the Eb and I would like to ask list members
who play the Eb what they consider to be the most important differences when
converting a soprano technique to the Eb. My specific problems (based on my
first week's experience !) relate to fundamental problems with intonation
from altissimo E upwards and in making pianissimo entries in the altissimo
range.

This must have been a topic on Klarinet previously and if anyone can point
me to specific past discussions I would be grateful because I have not yet
mastered how to use the archive search tool to refine search results into a
manageable selection.

Andrew

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