 The Clarinet BBoard
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Author: Sara
Date: 2000-03-06 23:49
I have a Buffet R-13 and play on a vandoren mouthpiece and vandoren reeds but my altissimo register is consistently 20 cents flatter than the rest of the clarinet. This proves to be a big problem when playing with an ensemble. Does anyone have any suggestions to help fix this problem? Is it my embouchure or is it my equipment?
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Author: Katherine Pincock
Date: 2000-03-07 00:50
Tuning the altissimo register is one of the most difficult things to do on the clarinet, especially since so many of the fingerings are just overblown versions of lower notes. From what you've described, I don't think your equipment is likely to be a problem, although you should be sure that you're using reeds hard enough to withstand playing in the altissimo (3 1/2 to 4 is usually best.) Part of the problem may be a result of the fingerings you're using; each clarinet has different fingerings that work best on it, and different passages require different fingerings. If you can, get a copy of the book of clarinet fingerings by T. Ridenour--since it has so many variations of fingerings for altissimo notes, you should be able to find something that works for you. Make sure that you don't accidentally drag any fingers over the holes, since a single finger deflecting some air, I've found, can really affect the altissimo. Once you've got all this straightened out, the most important thing is just to hear the note you're looking for. Robert Aitken, the flautist, says that you can use any fingering you want, but if you hear a note clearly, you'll still get the note you hear--and he can do it! Practice a bit with a tone-generating tuner, or with a friend who has steady pitch, by hearing the pitch, then trying to play it back at the same pitch level, and you'll be able to straighten out any other problems. Hope all this helps!
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Author: Dee
Date: 2000-03-07 02:04
Due to the nature of the harmonics of the sound waves, the altissimo register is inherently flat. To some extent, clarinet designers are able to offset this however the rest is up to the player.
A very important element in playing the altissimo in tune is well supported, high pressure air. This is necessary whether you are playing soft or loud or in-between. If the air is unsupported or the air pressure is low, then the note will go flat. To get this high pressure air, you need to push with the stomach muscles so that the diaphragm will deliver this high pressure air stream.
A firm embouchure is also important, but you must be very careful not to pinch or bite. If you do pinch or bite, you might get up to pitch but the tone will be thin, harsh, and unpleasant.
Typically a reed in the 3 1/2 range is recommended but it is possible to play altissimo with good tone and in tune on softer reeds. Of course the air stream and embouchure become even more important to those who choose to use the softer reeds.
It takes time and practice to develop a good sounding, in tune altissimo. Play long tones by yourself, with a tuner, and with a more advanced player if possible.
Based on my experience in the community band, the Buffet players find it necessary to always use the right hand little finger on the Ab/Eb lever in the altissimo to help get up to pitch. I don't know if this is due to the nature of the Buffet design or if it is because these are our less developed players. If you have been omitting this because it is awkward, work toward including it.
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Author: Eoin
Date: 2000-03-07 07:23
The fingering chart supplied with Buffet clarinets shows using the Ab/Eb key for altissimo notes, so this is in fact part of the design of the clarinet. This applies for notes from d''' up to g'''. For altissimo a''', the Ab/Eb lever actually lowers the pitch, I don't know why!
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Author: Graham Elliott
Date: 2000-03-07 07:40
For my money, Dee has got the balance of this point exactly right. The A flat/E flat key is required by those clarinets which have been tuned for reliability in the lower and mid registers, but may have a drooping altissimo as a consequence. Given that most instruments in use at present are of this design (i.e. narrow bore) there would appear to be no alternative to this awkward fingering. That is not necessarily true of wider bore instruments (mine at 14.9 mm don't need it). Brymer says it is a nuisance and regrets that some designers appear almost to make a virtue of that inconvenience. Sims in his fingerings book declines to give it as a fingering, as he says he has never had the misfortune to play a clarinet that requires it. Thurston (in the Thurston and Frank tutor) suggests that many B flat clarinets require this key, but by implication that A clarinets should not, which is hardly a useful point in practice.
On the psychological side (and I agree with all the foregoing comments) I find it useful to imagine I am landing on these notes from a height rather than reaching up to them. The latter can have the effect of choking off the air which is the key to tuning these notes.
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Author: Dee
Date: 2000-03-07 14:56
Graham Elliott wrote:
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... The A flat/E flat key is required by those clarinets which have been tuned for reliability in the lower and mid registers, but may have a drooping altissimo as a consequence. Given that most instruments in use at present are of this design (i.e. narrow bore) there would appear to be no alternative to this awkward fingering. That is not necessarily true of wider bore instruments (mine at 14.9 mm don't need it)...
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I have an fingering chart from an 1898 edition of the Klose method book that shows the use of Ab/Eb leve as one of the options.
Are you sure that narrow bore is always going to need it? Aren't there other design parameters that enter into the tuning of the altissimo register? Leblanc advertises at least one of their standard (i.e. narrow bore) instruments as having their traditional "higher tuning" for the altissimo.
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Author: Graham Elliott
Date: 2000-03-07 16:09
I am not sure that all narrow bores need this fingering. This is the impression I was given when I raised this issue a few months ago on this board. I am glad to hear that designers have managed to solve this problem in narrow bore clarinets. Perhaps that information needs to be more widely disseminated.
Dee wrote:
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Graham Elliott wrote:
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... The A flat/E flat key is required by those clarinets which have been tuned for reliability in the lower and mid registers, but may have a drooping altissimo as a consequence. Given that most instruments in use at present are of this design (i.e. narrow bore) there would appear to be no alternative to this awkward fingering. That is not necessarily true of wider bore instruments (mine at 14.9 mm don't need it)...
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I have an fingering chart from an 1898 edition of the Klose method book that shows the use of Ab/Eb leve as one of the options.
Are you sure that narrow bore is always going to need it? Aren't there other design parameters that enter into the tuning of the altissimo register? Leblanc advertises at least one of their standard (i.e. narrow bore) instruments as having their traditional "higher tuning" for the altissimo.
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Author: paul
Date: 2000-03-07 16:46
Graham hit the nail on the head. Lots of novices (like me) tend to strain a bit to hit the altissimo, choking out the note. His comment about landing on the note instead of climbing up to it is exactly what my pro tutor said to me many times in my lessons. Take that mindset into the practice session and make yourself think it's easy to do. Otherwise, you will unknowingly choke out the note and then drift horribly out of tune. With this, Dee's postings make even more sense. No doubt about it, air support and the "whisper" Eb/Ab key are essential for proper tuning of the altissimo register notes. For many of the contemporary and very popular clarinets, you really need both of these things to get the altissimo to not only be in tune, but to genuinely have a good sounding tone.
So, with this background, I suggest a drill for learning how to think "step down lightly" for the altissimo. It's the three register drill that I mentioned before. It's definitely not my idea. That's why I paid for the pro's lessons. Here's how it goes...
You will play three notes with one breath. Take your time and have plenty of natural air to start with. You will learn diaphram air support later. For now, just use the air support what you can easily provide. Start with low chalemeau A. Blow a nice mf note nice and easy. No big deal. Make it sound good and solid. Press the register key to get a very nice clarion E. Again, this should be no big deal, just get a solid mf level steady tone. Next, roll down your left hand index finger until a good altissimo C# speaks. A "half hole" tonehole opening usually does the trick. The note should find itself and speak with absolutely no changes on your part. Just keep up the air support within your current comfort level with no straining and absolutely no changes of any kind on your part. Now, take a short break and catch your breath. Try Chalemeau Bb, clarion F, and (now using the Eb/Ab key to bring it up to proper pitch) roll into the altissimo D with the left first finger. Next, chalemeau B, clarion F#, altissimo Eb (with whisper key, of course). Keep going up with these three note sets until you either get tired or it becomes difficult for you to support notes for any reason. A future drill will be to step down from altissimo to chalemeau, but don't worry about it for now. Just step up from chalemeau to altissimo and blow long easy notes. Whenever you find that the altissimo is getting to be a strain, revert back to the three register drill to get the basics right and lock them in rock solid.
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Author: Don Berger
Date: 2000-03-07 21:58
What an interesting discussion! Back when I played any alt. passages, I always used the Ab/Eb, cant really remember why, except it sure helped me. Re: cl design, I recommend Lee Gibson's "Cl Acoustics" as a reference work and Larry Guy's "Intonation Training ---" as to how to do it. Don
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