 The Clarinet BBoard
|
Author: bahamutofskycon
Date: 2006-11-29 16:11
I'm working on the "On the Trail" excerpt from Grofe's Grand Canyon Suite.
I'm having a little trouble with the part at "rehearsal number 2" in Drapkin's book. The descending arpeggio pattern works fine for me but when I get to the bottom my G-naturals (and then A and B) squawk or jump up the the clarion. This is just when I jump from a 1st space F# to the G-nat two ledger lines and a space below the staff.
Any advice on how to clean this up?
The second time this passage happens (around rehearsal 13) the low G#'s don't give me problems.
Any advice would be helpful.
Much appreciated,
Steve Ballas
|
|
Reply To Message
|
|
Author: LarryBocaner ★2017
Date: 2006-11-29 16:59
Sounds to me like you might have a small leak somewhere in the upper joint that creates a node at a harmonic point of the low G, signalling your instrument that you want to play in the next register. These can be very elusive: for starters check both register key vents to make sure that they are sealing all the way around the pads. Also check to make sure that there is enough spring pressure to hold them firmly closed when you are blowing into the instrument. (you can experiment by having a friend hold them closed one-by-one with his finger while you test the individual notes that are tormenting you--also refers to the LH trill keys tc))
Could be any number of othr factors almost too numerous to cite, but including air support, warped reed or mouthpiece, embouchure, ligature
etc. Also check the adjusting screw on the throat A key -- make sure that you have a little clearance when the A and G# are closed.
|
|
Reply To Message
|
|
Author: Don Berger
Date: 2006-11-29 17:22
Yup - Larry has "covered the waterfront" very well. My first thot also was the register keys. the low Ab pad is often "blow-openable". It might be a too-hard reed causing the reg.-jump IMHO as well. See a B C knowledgable repairer. Don
Thanx, Mark, Don
|
|
Reply To Message
|
|
Author: David Spiegelthal ★2017
Date: 2006-11-29 18:06
And although Larry already mentioned it, keep your embouchure rock-steady during the register changes -- not clamped, but firm. Any movement of your chops will exacerbate the tendency to squawk.
|
|
Reply To Message
|
|
Author: David Spiegelthal ★2017
Date: 2006-11-29 18:58
We could all use more practice time, Anthony, but some of us have other committments which prevent us from doing so.
|
|
Reply To Message
|
|
Author: DAVE
Date: 2006-11-29 19:35
I have had this same problem over the years and on my horn I found it not to be the result of a leak. Surprisingly I attribute it to a mouthpiece problem. There is nothing particularly wrong with any of my mouthpieces, but on some that G sqeeks and others it does not. For me, the only mouthpiece that is consistant on that front is a Bay mouthpiece. I have no idea why, but that seems to work for me.
Also, I wonder if you are playing a Buffet Prestige. I have found that note very pesky on those horns. Just a thought.
|
|
Reply To Message
|
|
Author: bahamutofskycon
Date: 2006-11-29 20:10
Anthony - seeing that I'm a Masters in Performance (clarinet) student at a conservatory and that I practice soprano for 2.5-3 hours a day, bass for 1-1.5 hours a day and alto for a half hour a day I don't think I have the opportunity to practice much more with classes and my part-time staff position within the conservatory. Not that I need to justify myself...
Everyone else - thank you for the helpful suggestions.
I will check diligently for leaks. I regularly adjust my register keys, so I'm pretty sure those are working properly.
Actually, I play on my school's low-C Leblanc. I'm told that the mechanism could be better on these, but for the most part this one works well.
Larry, I just adjusted my throat A screw - I'll see if that helps.
Thanks, all.
Steve Ballas
|
|
Reply To Message
|
|
Author: clarinerd
Date: 2006-11-29 20:35
Steve, I wouldn't be surprised if something was leaking making the excerpt more difficult than it should. No matter how many times my bass is worked on, it is never quite in allignment. Equipment aside, however, there are a couple of ways that you could try practicing to tackle that challenging spot.
It's possible that your fingers are ahead of your air stream. You could be playing the low g before your fingers have made it there, because the passage is so fast. After you get to the first F#, stop, put your fingers down and then play on with the low g and see if the problem is still there. This should ideally be done it a slow tempo at first of course.
If it is still a challenge, try to start the low G with a slower air stream than the F#. I find that I get the same problem if I don't practice that spot slowly while conciously slowing down my air in between the F# and the G. Practice it the same way as mentioned above, but after you stop on the F#, start the low g with a slower speed of air. Of course the desired end result is not a very quiet or spready low g, but a masking of the difficulty of the jump.
Good luck!
|
|
Reply To Message
|
|
Author: tomkinsonl
Date: 2006-11-30 02:18
Hi Steve,
I remember having the same problem. My solution seemed to be in the voicing of it. While the effect is not as pronounced as on soprano clarinet, the voicing still matters on bass. I was voicing too high, and a change in oral cavity shape, or vowel sound, made the problem go away. If you can play it in isolation, but not after the preceding measures, this could be your problem, it's hard to say over the web!
Either way, you will figure it out :-)
Luke
|
|
Reply To Message
|
|
Author: Ebclarinet1
Date: 2006-11-30 13:14
The other sort of nasty lick in this piece is the high B-C#-D that is repeated and is soft. To me it is more tenuous than the rapid fingering part! I find that using the side two keys for the C# and open except for the octave key for the high D work MUCH better at keeping it SOFT and the notes sounded more alike in timbre than the standard fingerrings. Practice that in front of a tuner to make sure you're not going too wild with the high D. That seems to be the trickiest to get in tune on my Selmer, although adding one of the sliver keys will generally put it pretty much in tune. Luckily you're alone when doing this, so close intonation is not a problem as if you were doing it with someone else.
Would agree that it sounds like a leak with your other problem. I would definitely practice this with the oboe player as you must interface so exactly with him/her. I have found the oboe tends to RUSH this part too. It might be wise to bring a metronome to the rehearsal to convince him of this!
It is a fun piece and I wish you luck in the performance.
Eefer guy
|
|
Reply To Message
|
|
Author: bahamutofskycon
Date: 2006-11-30 17:25
Again, thanks all for the excellent recommendations.
I found a slight leak - the pad for the low G wasn't closing all the way. A quarter turn on that screw helped immensely - I am about 70% more consistent with the note.
Also, the "voicing" and "slowing the airstream" some on the low G has helped a lot. I'm now pretty comfortable playing this lick.
Thank you for the well wishes - I'm actually using this for an audition tape due in soon.
For the B-C#-D passage I use the 2 side keys for the C# and then the register key + LH middle finger for the D. That D fingering (at least on my horn) helps provide more stability. Works wonders.
Steve Ballas
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
