Klarinet Archive - Posting 000500.txt from 2001/06
From: MVinquist@-----.com
Subj: [kl] Re: Contra-alto
Date: Sun, 17 Jun 2001 16:48:40 -0400
I was out of town when Ann Satterfield asked about the stubborn second
register on the Eb contra-alto she was playing, but here are my thoughts,
based on playing the instrument full time for over a year in the West Point
Band.
There are 4 things you can do to make the second register easier, involving
the instrument, reeds, embouchure and air.
1. REGISTER MECHANISM
Second register problems on contras are almost always caused by leaks in the
register key mechanism. Contra-altos usually have the same automatic double
register key as bass clarinets, changed by the right-hand ring finger key.
These get out of adjustment even easier than on bass clarinets. Usually the
problem is that the lower register key doesn't close completely when you
raise your right ring finger. Test this by watching and also by playing low
C (left hand fingers down), holding the lower register key closed with your
right hand fingers and pressing the register key. If it goes up to G easily,
the problem is with the register mechanism. Also, even if the lower hole
stays closed when you finger low C and press the register key, it may not
close "in action" when you play 4th space D and raise your right ring finger
slowly.
The metal Leblancs have an insanely complex triple mechanism, with a separate
hole for throat Bb. These are a nightmare to get into adjustment, even for a
professional repair shop.
2. REEDS
A contra mouthpiece has a long curve that the reed has to wrap along.
Therefore, you put the reed on so that the tip appears slightly above the tip
of the mouthpiece, so that it will end up even with the tip when it closes.
Any leak is fatal.
Contra reeds often have the bottom of the reed warped into a bulge down the
center. I think this happens on large reeds more than on smaller ones
because there's a larger area of bark on the top that doesn't expand, leaving
a downward direction the only way the reed material can go. I use a very
large flat file to even out the bottom, but 600 grit wet-or-dry (black coat)
sandpaper over a sheet of plate glass also works. Press only on the bark
area, and get a mirror surface everywhere. Balancing the reeds helps, too,
of course, and in general you need a softer reed than you expect -- just
strong enough to avoid a flapping sound on the low notes. Finally, you need
to narrow the reed to be a tiny amount (0.1 mm.) narrower than the outside of
the rails, so that you can nudge the reed back and forth sideways by tiny
increments to find the best position. I've had the best results with
Vandoren bass sax reeds, which fit a Selmer contra-alto mouthpiece perfectly.
I get the # 4 strength, which have plenty of extra cane to take off to
flatten out the bottom.
3. EMBOUCHURE
I play double lip full time on soprano, and on contra I can't play single lip
at all. It just doesn't respond. That and my brains get scrambled from the
vibration if I play single lip.
Also, try forgetting about a flat chin and use the bassoon type "Andy Gump"
embouchure. Take a *lot* of mouthpiece, and then drop your jaw down and
back, so that your lower lip is nearer the tip, bunching up your chin.
(Kalmen Opperman showed me this.) This gives the reed room to vibrate, while
still letting you have control.
4. AIR
Finally, Anne, from your postings I know you're a good player, but contra is
a different animal. You have to remind yourself constantly that it's a
low-pressure instrument. It needs to be coaxed rather than forced. Soft
reeds and a loose embouchure are the keys. With every inhalation, I think
about taking air in all the way to my belt-line, filling up from the bottom
until my chest rises by itself, and then relaxing downward to let the air
come out by itself. Believe me, even with a soft reed, you can rattle the
walls when you want to.
By the way, Eb and even BBb contras have *less* finger stretch than bass or
alto. They're a full plateau system, and so the keys can be put in a
comfortable position rather than being on top of large pads or even having
open holes, as on some altos.
Contra is my natural instrument - the one that almost plays itself. I love
to play it. Haul those contras out of the storerooms and crank them up.
Best regards.
Ken Shaw
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