 The Clarinet BBoard
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Author: David Lee
Date: 2006-02-18 01:46
When I try to slur down from c# (oxx, xxo) to e (xxx, xxo) the c# note persists unless I tongue the e or drop the amount of air going through the clarinet. I have tried different reeds and two clarinets, same problem. Any suggestions?
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Author: Richard Salzman
Date: 2006-02-18 02:36
I would love to hear some other answers to this problem too. There are many such instances of problems that require you to do what works as opposed to a standard technique. The problem you describe is one of descending over what amounts to the second "break" that is a change in registers and I think you have already found the solution.You only need to work on it to make it as smooth as possible. After all , when you go from E to C# don't you give it just a little extra push of air. Going the other way is the reverse but harder.
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Author: Chris P
Date: 2006-02-18 06:20
Slurring downwards across the break IS difficult, it's the nature of the beast. The only way is to very lightly tongue the lower note.
Altissimo C# is a harmonic of E (and the fundamental of both is A), and as higher harmonics once started are stronger than the lower ones and fundamentals, they will take control - so the only thing to do is restart the lower note as lightly as possible with a brush of the tongue and a slight change in air pressure for the E.
I remember a customer complaining his clarinet didn't work, in that he couldn't slur from G5 down to C4 - he got a G and a slightly flatter G instead when he released the speaker key - but I couldn't do it either, and fortunately a teacher was in the shop and he couldn't do it. And the same happened on both mine and the teacher's clarinet, as well as several new clarinets of a reputable make and model. So it was a wasted journey for the customer as there was nothing wrong with his clarinet.
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Author: crnichols
Date: 2006-02-18 08:36
You can use this fingering and eliminate that break, use the trill fingering, it's often well in tune. TR 000 SK 12 000
Christopher Nichols
1st Infantry Division Band
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Author: Paul Aviles
Date: 2006-02-18 11:38
I second the motion. Whenever you have a case where the next note is the "same fingering," just change the fingering!
............Paul Aviles
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Author: Ken Shaw ★2017
Date: 2006-02-18 12:49
David -
This slur is never easy. Approach it by working on a slur from C# one step down to B. Then C#/A and C#/G. These take some practice, but you should be able to do them without much problem. Make the slurs very smooth, without a "click" or hesitation when you change registers.
You'll find that you need to change the position of your tongue and soft palate, to voice the low notes so that the come out immediately.
You should then be able to continue on to C#/F#. C#/F and finally C#/E.
There are two important exercises. The first is from Charles Neidich, who showed at a master class how to change the voicing to make one register or another come out. See http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=101441&t=101441
The second is from the Leblanc Bell magazine and involves blocking the bell with a balled-up handkerchief or swab and playing bugle calls, to learn control which overtone plays. See http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=149793&t=149757
You may have to brush the reed tip (or the corner of the reed tip) very lightly with the tip of your tongue, to change the vibration mode to the lower note. Practice on a single note -- say, open G. Play it and brush up with the tip of your tongue, but miss the reed. Continue brushing and gradually move your tongue toward the reed until it barely touches. You want to let it touch, but produce no audible articulation, or almost none.
Good luck. Keep us posted on your progress.
Ken Shaw
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Author: Bob Phillips
Date: 2006-02-18 15:19
These "tricks" seem necessary, and their use becomes less intrusive as you improve. Some of the "fudging" abates with practice. For me such "cheating" is necessary.
I do wish I didn't have to do it, though.
I'll try Chris Nichols' alternative fingering today, too.
Bob Phillips
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Author: GBK
Date: 2006-02-18 15:41
Ken's advice is good and should be followed.
Although alternate fingerings should not be relied upon as a substitute or shortcut for basic, required clarinet technique, you should be aware of additional ways to play C#6, if the need arises.
The "open thumb" C# is an excellent fingering which has its place, (especially handy for wide skips) when needed:
R (no thumb) x x x / x x x Ab/Eb
...GBK
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Author: Richard Salzman
Date: 2006-02-18 20:42
Since I have been playing bass clarinet full time I have developed a new relation to alternate fingerings. Some of the alternates are actually better than the standard fingering, i.e. cleaner sounding or even more in tune. Those are the two qualities most important to me , especially in slow or extended passages. The alternate fingerings definitely come to the fore at high velocity or where the note is less exposed.
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Author: Chris P
Date: 2006-02-18 23:30
I've found there are loads of logical altissimo register fingerings on bass clarinet that work well, and easier to use.
But I can only remember them at the time I use them - the lower altissimo register will go up by removing each finger in turn, from C# up to around altissimo G or higher, and overblown will carry on up.
Similar to bari sax, using the side and palm keys in turn (and better with a high F# key) will take the altissimo up to top high Eb and then even higher still (from E up to at least an A - the same pitch as altissimo A the alto reaches at the end of 'Harlem Nocturne') by using different embouchures.
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