 The Clarinet BBoard
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Author: Tim Wilson
Date: 2000-04-29 00:58
I wonder if anyone out there can advise me as to how I might attempt to approach that very open, fluid, "Pete Fountain-type" clarinet sound. I've played clarinet off and on for many years and have enough experience to know that a the greater part of ANY sound is created by the player, but I'm curious to know if any of you have had much experience with more open mouthpieces or various mouthpiece/reed combinations that tend to give that jazz sound. Thanks for any advice you may offer!!
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Author: gRAHAM
Date: 2000-04-29 03:20
I am by no means an expert but I like playing jazz on the clarinet. I use a blayman MP and recently got a legere reed that I like alot. Maybe a pete fountain clarient will sound more like pete fountain.
Take what I say next with a grain of salt. Every one else on this board please dont crusify me.
I like Amati for jazz clarients. They have a very open sound and are very bright. they have brassy lows and sweet highs. I just wish I could find the ACL-601 pro standard boehm I can only find full boehm.
I have called Mr. Seger and he said they dont import them but Mr. Prem says they do So I guess I will never know.
Graham
Ps amati tunnig problems go away with a blayman MP. Maybe Crystal Pete Fountain MP will sound like him.
I play a Buffet E-13 not an amati but I have one that I use for jazz.
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Author: gRAHAM
Date: 2000-04-29 03:20
I am by no means an expert but I like playing jazz on the clarinet. I use a blayman MP and recently got a legere reed that I like alot. Maybe a pete fountain clarient will sound more like pete fountain.
Take what I say next with a grain of salt. Every one else on this board please dont crusify me.
I like Amati for jazz clarients. They have a very open sound and are very bright. they have brassy lows and sweet highs. I just wish I could find the ACL-601 pro standard boehm I can only find full boehm.
I have called Mr. Seger and he said they dont import them but Mr. Prem says they do So I guess I will never know.
Graham
Ps amati tunnig problems go away with a blayman MP. Maybe Crystal Pete Fountain MP will sound like him.
I play a Buffet E-13 not an amati but I have one that I use for jazz.
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Author: gRAHAM
Date: 2000-04-29 03:25
oops sorry. I hit the button 2 times. ITs not because Im stupid because I like amati but because I am tired and it was an accident.
Also Many pro jazz players use a standard metal ligature.
Amati is very popular in Europe I hear. They have recieved more orders than thier huge factory can produce in 1 year so they arent as bad as you think. THey have changed alot since 1998. All models were redesigned and they remodelded thier factories. They were part of the SSR and had to give 90% of proffits to the gov. That is 1998 thats when they could get on the ball. used amatis are sh--.
GRaham
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Author: Ken
Date: 2000-04-29 13:26
OK I'll bite: Artie Shaw used to waltz into the first music store he saw and buy any piece off the shelf, take it home and feverishly sand it down with wetted emery cloth until he got the right "feel of it". Moral of the story: CONCEPT defines STYLE not equipment. MENTAL: If you want that "sound" you have to first live the idiom, listen to it and engrain it in your head and heart before you can apply it. Don't get hung up on buying a host of toys and gadgets, or worse, another horn just yet...playing is 90% mental and 10% physical anyway. Save your money and begin right where you're at using your present axe and setup. There's a fundamental difference between the Dixieland and Swing Jazz style/vibrato, decide which one you're after, listen, listen, listen and you'll hear it if you haven't already. PHYSICAL: For me, good, warm vibrato whether tight or wide comes from the embouchure NOT the diaphragm. Start with a basic exercise to improve flexibility, you have the muscles in your face you just need to train them. For instance, play your mouthpiece "only" take a full breath and blow a straight tone keeping the air stream constant and pitch steady. Lower your jaw and try to play a full descending scale one step at a time. At first, if that's too difficult try half-steps chromatically. Your jaw will naturally drop down and back as the pitch lowers, eeeeeeee--aaaaaaa--awwwwww. See how many partials you can play. Repeat. You can use a metronome if you prefer, maybe 54 to the half note. Always think "round", pretend you're blowing smoke rings out of your bell. The purpose of this exercize is to eventually play a full octave or more smearing up and down, faster and faster and to obviously take control. For some people, it's difficult at first but ten times easier when you apply it to the horn. Spend only about ten minutes a day on it and I'd recommend doing it at the END of your practice session, don't do it cold. Do that five days a week and after three months you won't recognize your self. Hope this helps. <:-)
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Author: sylvan selig
Date: 2000-04-30 08:08
Everything said so far is valid, but only to a point. The only variable left out is the most important of all. Its genetics. You can't "pick" your sound any more than you can choose your parents. Pete's sound is Pete's sound just as your sound is your sound. Try findng out just what "your" sound is and then do what you think it takes to enhance it in its own direction. Your own sound is your strongest suit, use it. While we all have our heros (Pete is one of mine as well), realize and use your own gifts and don't be afraid just sound like you.
-ss-
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Author: Mike M
Date: 2000-05-09 16:20
Well, I love Pete's sound too. I've tried to emulate it since I was a kid. I'm no expert, but here's my two cents.
Sure, equipment may help. I had a Pete Fountain Crystal mouthpiece several years ago. For me, it seemed to bighten up the sound, put some edge on it. Also, I like my old big bore Evette/Buffet for jazz.
However. I think a lot of Pete Fountain’s "Sound" can be characterized by his stylistic approach. Here are some observations I’ve made over the years.
Pete Fountain has said that he opens his throat as if he’s yawning. This really opens up the air passages and gives resonance to the sound. It also seems to relax the embouchure a bit.
Whether playing live or recording, he plays to the microphone. For a more mellow sound, he will get close to the mic positioning it midway between his hands or near the right hand. For a brighter, more penetrating sound, he’ll raise the bell towards the mic.
He attacks notes like a genius. For example, many times when he attacks a throat tone, you can hear a slight grace note from an octave below. This can really give an open G a lot of guts. Or, he’ll half-hole a note on attack to scoop up to it from about a quarter step below. Or, he’ll fade into a note. And of course on slurred passages his finger placement is clean and decisive.
I haven’t really been able to put my finger on it, but he uses breath support creatively to emphasize and shadow notes.
Of course, he has a vibrato wide enough to drive a truck though - you’ll just have to experiment. This is were the right mouthpiece may be more of an issue.
All things considered, I think the most important facet to his fluid sound is his use of different attacks.
Hope that is of some use.
BTW, does anyone know of any Pete Fountain transcriptions or arrangements?
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