Klarinet Archive - Posting 000888.txt from 1999/10

From: Richard Bush <rbushidioglot@-----.net>
Subj: Re: [kl] Bb Soprano to Bass Clarinet
Date: Fri, 29 Oct 1999 03:45:22 -0400

Tonguing? I vote with Shouryu Nohe and against Daniel Stover. I tongue with the
tip of my tongue. The tip is anywhere from very hard to fairly soft. It is
shaped from very pointed to quite rounded. Tongue strokes are anything from
soft, brushing strokes to hard, percussive movements. (There are lots of ways to
start a tone, have it expressive and have it fit the context of the music and
the desired effect at the outset.) Don't forget the possibility of starting a
sound without using the tongue; sometimes a great way to sneak in when starting
PPP.

The Morgan mouthpiece, D facing, is fantastic. I don't know if it is the best
bass clarinet mouthpiece out there because I haven't played all the mouthpieces
out there, but I wouldn't be surprised if it wasn't one of the very best. Could
go on extolling my positive feelings about it, but hopefully, the reader will
get the point.

Now lets talk about making the conversion to the big horn.

The original poster seems to be an advanced player from comments made. I
probably don't need to go into the bigger horn, bigger bite, more open mouth,
more open throat, more air thing. These are pretty obvious, and anyone who takes
up the bass clarinet soon finds all of this out quickly if they have a concept
of what the bass clarinet can sound like and go for that wonderfully rich sound.

Start by checking out the instrument very carefully. Make a feeler gauge. I use
the clear wrapper that covers a package of cigarettes. I cut a pointed strip
that ends up at the back the same width as that of a paper match from a match
book. I use contact cement to glue it to the paper match. I then stroke it under
a finger and over a piece of 400 to 600 sandpaper. It will go from clear to
frosted white, giving it some grab when pulling it from beneath the pads.

Check all pads for leaks. Pull the feeler out at 12:00 o'clock, 3:00, 6:00 and
9:00. The drag should be equal. On open pads, use the finger that normally
closes that pad (or those pads), use normal playing pressure and continue the
process. Use the normal purchase point to close the low notes, such as low F/C,
E/B, etc. Don't close the pad cup with a finger, but close the key at the key
spatula end, the touch part of the key.

Pay very special attention to the regulations of first finger to pad under the A
key, thumb pad to the same pad, thumb pad and Bb pad when the register key opens
and the Bb pad closes with the thumb pad. Make sure the register key does not
open AT ALL when the Bb pad opens. These are critical for response in the second
register, and will wipe out response faster than leaks any other place.

If leaks are found, get it fixed.

Voicing

The second register can be a big problem. This is often a very weak part of the
bass clarinet tone. Much of learning to play up there requires very special
voicing in the throat. It helps if you sing the note first, then play it. Spend
as much time on the bass as possible, because it is a very different animal and
only time and exposure will help you get the feel.

Keep the horn vertical. Moisture will accumulate and puddle right behind the
mouthpiece in the lower bow of the neck. Tip the instrument so that this
accumulating moisture drains back out the mouthpiece tip opening. Never lay the
instrument flat, across your legs or put it on an instrument case unless you
take the neck off first. Failure to do so will cause the puddled moisture to
drip into tone hole and damage pads.

If the instrument was not supplied with a swab, get one and use it. Never put
the horn away wet.

Reeds

I find that softer reeds work better for me. I use reeds that are at least a
full strength softer than what I use on soprano clarinet (approx. 2 1/2 to 3).

Shouryu Nohe wrote:

> On Wed, 27 Oct 1999, Daniel Stover wrote:
>
> > On tonguing:
> > While anchor tonguing is O.K. on soprano, it's almost neccessary on bass.
> > Never start low notes (around B down) with a tongue start. Start with air
> > and then start the vibration of the reed by articulating (my teacher uses
> > the sylable "shh-ta").
> > If you try and tongue start like on soprano, there's a 95% chance you'll
> > squawk. (another trick on low notes is to raise your first finger of your
> > left hand just before you start the note)
>
> I disagree completely - I tongue tip of tongue to tip of reed on every
> instrument, Eb clar to BBb contra, Bb soprano sax to Eb Bari sax. The
> ONLY exception is when I'm playing (or attempting to and failing) subtone
> on tenor sax (a la Dexter Gordon) in which case, a "fwaa" or "thdwaa"
> syllable. But for Eb and Bb clarinets, I say a clear "teeeh", and
> everything thing else, "taaah". In fact, although I learned this
> technique on Bb, I applied it quickly to bass and saxophone, and can
> actually tongue faster on both bass and saxophone than I can on clarinet
> (geez...I forgot my prof is reading this...probably won't be too happy
> with that either...).
>
> Currently, I can tongue 16ths at 158 bpm in groups of 5 or less, and at
> 142 bpm in groups of 7 on bass. On Bb, about 144 in groups of 5
> or less, and about 108 in groups of 7. I do a good deal of articulation
> excersizes, but I still can't double tongue to save my life. (Or flutter
> tongue, or gliss, or multiphonics...)
>
> I have more problems with squeaks on the Eb clarinet...in fact, that's
> just about the only instrument that I have squeak problems with, mainly
> due to leaking the tone holes or bumping a banana key here and there.
>
> You can tongue tip to tip on bass. You don't HAVE to - if it doesn't work
> for YOU, then YOU don't do it. But it can be done, and one shouldn't
> discourage others from trying.
>
> J. Shouryu Nohe
> http://web.nmsu.edu/~jnohe
> Professor of SCSM102, New Mexico State Univ.
> "If I wanted a 'job,' I'd have gone music ED, thank you very much!"
>
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Date: Thu, 28 Oct 1999 11:45:04 -0500
From: Mark Gustavson <mgustav@-----.com>
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References: <Pine.HPP.3.96.991028081445.8812B-100000@-----.edu>
Subject: Re: [donax-m] bending notes down

As an exercise to realize bending, using only your mouthpiece setup.
Play a pitch as high as possible, then with a combination of lip
pressure, and slightly dropping your jaw and with good support lower the
pitch by a step and then back up. Repeat while increasing the
intervals. You should be able to go down over an octave. Also increase
the speed. Play scales and arpeggios in this manner. Put the
mouthpiece back on and try to realize the same action on an easy note
such as the C above the staff. Good luck.
--------------------------------
Dr. Mark Gustavson
Composer/Clarinetist
Instructor, Brooklyn College Prep Division
Principal Clarinet, Brooklyn Heights Orchestra

Matt Goff wrote:
>
> I am trying to figure out how to get a good bend. I have started with the
> C above the staff and I try and bend it down as far as I can. With
> changing just my embouchure I can only manage to go down about 1/4 step.
> If I include my tongue, I can sometimes get down almost 1/2 step. I've
> heard that it is possible to go down an octave or more and I have seen
> people bend down at least a fourth, so I know it is possible to do more
> than I can. I did a search on the Klarinet archives and I have talked to
> people here and it seems like there is a fair amount of agreement that
> getting the pitch down involves lowering the tongue, loosening the
> embouchure somewhat, and opening the throat (including using eee vs. ahhh
> feelings in the mouth). When I play normally, my throat tends to be pretty
> open and I can't seem to open it any further. Moving my tongue down and
> back seems to do some, but only if I have already also relaxed my
> embouchure quite a bit and even then, I'm lucky to get down 1/2 step.
> What I am wondering is if anyone has any other ways of thinking about what
> needs to go on physically to achieve the drop in pitch. Is it something
> that happens gradually (like you can gradually get lower and lower as you
> practice it more) or when you can do it, it happens all at once? Any
> thoughts would be appreciated.
>
> In any case, I'll keep trying (and hopefully accomplish more than a
> half step and mild headache at some point).
>
> Matt Goff

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