Klarinet Archive - Posting 000914.txt from 1999/10

From: "Dodgshun family" <dodgshun@-----.nz>
Subj: Re: [kl] Bb Soprano to Bass Clarinet
Date: Fri, 29 Oct 1999 03:45:48 -0400

>> I play a LeBlanc bass (don't know the model, but it's a low C instrument
:))
>> with a Pomarico 2 crystal mouthpiece. As far as I know, very few people
>> use crystals on bass. I like it because it allows me to project without
>> losing my tone or having to blow 'til I see stars! But that's only my
>> opinion - you may want to try some mouthpieces out.
>
> I started out last year on a Pomarico Crystal bass mouthpiece and while i
> liked it for chamber music settings, it didn't have the *umph*
> for band or orchestra or solo playing

Could be that because I'm using slightly harder reeds (see below) that it
works really well for me.

>> I'm using standard Vandoren reeds, #3. My advice on reeds is to use a
reed
>>at least as hard as your Bb reeds, if not 1/2 a strength harder. Tenor
sax
>> reeds are also OK.
>
> How are you playing 3's on the Pomarico 2? I couldn't get anything harder
> than 2.5 to play on that open of a mouthpiece.

Could it be because I'm a baritone sax player?? I had a very open bari
mouthpiece which I played anything up to a 3.5 on, and I think it's that my
chops are fairly used to it! Anything softer than a 3 and my sound loses
focus, anything harder and I start blacking out.

>As for bass reeds relative
> to Bb reeds, i think one should play 1 to .5 strength softer than what you
> play on Bb, otherwise a 3.5 or 4 on bass is going to feel like playing on
a
> tree. Usully, if someone's comfortable on 4's on Bb, 3 is adequate on
bass.

I was playing 2.5s on bass, and the minute I switched to a 3, things
improved. OK, if you're playing a 4 then yeah, it will be like playing a
lump of 4x2! Maybe it's just that a 3 is the best bass reed for me and it
doesn't really relate to my Bb reeds.

> Not much to really say about the rest of the stuff. Though, you DO have
to
> think of the bass as being different from the soprano because it IS
> different. If you try and play it like soprano, you'll be squawking and
> squealing all over the place.

To a certain extent. I find that if I think of it as a completely different
beast I have problems. Certainly there are things which are different, but
it doesn't pay to forget that they're pretty closely related!

> One thing to remember is that the bass is more of a "warm air" instrument
> like a saxophone. You also just have to experiment with horn angle and
find
> what works best for you.

I should have mentioned this but I forgot. Angle is a personal thing - what
works for you probably won't for others. Play around with it.

> 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").

Try playing the Villa Lobos "Bachianas Brasileras no. 4" like this. No way
could I do this. I don't know whether having a low C bass makes a
difference - it is very slightly slower to respond (as you'd expect) but if
I don't tongue start a note, I find it very difficult.

One other thing I forgot to mention was that the mechanism will go out of
adjustment more easily than Bb mechanisms. Be careful with it, or else
you'll find yourself running into problems. Because it's more complex,
there's more to go wrong....

While we're on basses, does anyone know why Elgar wrote Pomp & Circumstance
no. 1 for bass clar in A? I had to write it out because it's just too fast
and awkward to do at sight....

Anna

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