 The Clarinet BBoard
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Author: gregg
Date: 2000-03-30 11:58
Help if possible would be lovely.
As a self taught saxophonist, the clarinet is a challenge that I am enjoying. However,when going legato to Eb, E , F (etc) from C the notes often jump what seems like several millions of octaves into the stratosphere. If playing chromatically from the said C, no problems. The clarinet is a Normandy (nothing special, I fear) and I have VanDoren 3.5 reeds.
Thanks
Gregg
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Author: Dee
Date: 2000-03-30 12:18
gregg wrote:
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Help if possible would be lovely.
As a self taught saxophonist, the clarinet is a challenge that I am enjoying. However,when going legato to Eb, E , F (etc) from C the notes often jump what seems like several millions of octaves into the stratosphere. If playing chromatically from the said C, no problems. The clarinet is a Normandy (nothing special, I fear) and I have VanDoren 3.5 reeds.
Thanks
Gregg
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This takes a lot of practice for anyone. It sounds as if you are trying to get there by "pinching" the reed when you try to do these jumps. This will result in more squeaks than notes. Instead, try increasing the air pressure. Give it more support from the diaphragm. Don't change the embouchure at all for now. At first you may tend to be a bit flat but you need to get the feel of the notes. Then as you progress, the embouchure can be a little firmer and you can use techniques such as voicing to get up to pitch.
This is a perfectly acceptable clarinet, reed, and reed strength to play these notes. What mouthpiece are you using? Depending on what you have now, a different one may help a bit on this problem although the main thing to work on is technique.
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Author: Ray Swing
Date: 2000-03-30 14:51
First, the clarinet embouchure must be much firmer than the sax one; i.e. the muscles at the mouth edges of the "smile" for the Clarinet must me firmer. The sax embouchure is much looser at the mouth edges and is downturned slightly.
Second, the reed strength might be too hard for your embouchure and should be matched to the mouthpiece, i.e. a closed MP use a stronger reed (3-4), an open MP, (2-3).
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Author: paul
Date: 2000-03-30 16:06
I must emphasize that Dee's point about air support is totally on target and needs to be stated again. The altissimo register demands much more air support than novices like me initially realize. Clarinets are notorious for getting more air resistance the higher up you go, so plan to add more air pressure as you step up. Learn to push more air into your horn as you go up, especially when you play notes in the altissimo register. With that said, I'll describe a very good drill that helps novices like me develop the skill base for the altissimo register.
I suggest the three register drill for the folks who are new to the altissimo register. Besides helping folks find the correct fingerings, it shows the person who carefully listens and feels for the note the nuances of air support, embouchure support (support versus pinching), and all of the other subtle mechanics required to produce a sweet and completely in tune note in the altissimo. This is the best way I know to establish a firm foundation in the altissimo register. My highly skilled and experienced pro tutor showed me this trick and I have to admit it really works. The key is to work at this drill and concentrate on what it takes to get the altissimo to speak correctly. Make sure you add more air support for the altissimo.
The three register drill can start with chalemeau A, then clarion E, then (with more air support) altissimo C#. Then, chalemeau Bb, clarion F, and (using the Ab/Eb key to get the proper intonation, it's also known as the "whisper key" for this register) (ditto for air support) altissimo D. Next, chalemeau B, clarion F#, altissimo Eb (with whisper key and more air support). All of the altissimo notes should sound really good by rolling the left index finger partially down on its tone hole. This "half hole" trick works surprisingly well, especially if you put more air support into the altissimo note.
Another superb set of drills for the altissimo is Hite's edition of the Bearmann III scales, arpeggio, thirds, fourths, fifths, sixths, and octave drills. This particular text uses the same concept in the original Baermann III, but it's written at a much lower octave range. This book takes the player through progressively more challenging drills based on the scales with gradually widening steps, both going up and going down. As an adult novice, I'm personally going at these drills at a snail's pace, feeling for each note and making corrections until it's right. It may seem awfully boring taking these drills the equivalent of a whole note instead of the 16th note as written, but like anything else, the practice is well worth it in the end.
Oh, did I forget to mention again the need for more air support for the altissimo?
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Author: Cyladie
Date: 2004-03-21 16:03
i was wondering if it helped to take a bit more mouthpiece in to get altissimo range out? or is that frowned upon?
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Author: Joel Clifton
Date: 2004-03-21 16:48
My clarinet teacher recently showed me a method that helps those notes come out easier and more clearly. When going from clarion to altissimo, roll your finger off of the F#/B hole.
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"You have to play just right to make dissonant music sound wrong in the right way"
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Author: GBK
Date: 2004-03-21 16:56
To all: Although the advice is relevant, this original thread is four years old...GBK
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Author: Joel Clifton
Date: 2004-03-22 03:28
All I can say is "wow".
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"You have to play just right to make dissonant music sound wrong in the right way"
Post Edited (2004-03-22 03:29)
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Author: Joel Clifton
Date: 2004-03-22 22:03
Heh, thanks.
I created it a few months ago for this exact kind of occurrence.
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"You have to play just right to make dissonant music sound wrong in the right way"
Post Edited (2004-03-22 22:04)
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The Clarinet Pages
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