 The Clarinet BBoard
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Author: michael
Date: 1999-11-17 12:04
I have been practicing from the AVRAHM GALPER Upbeat Scales and Arpeggios book. I have found them very challenging. He forces me to play into the higher notes, which I would probably avoid if just left to myself. One thing I have noticed is that I tend to pull my lower lip back as I get to high C and above. Is this a beginners tendency or is that what I should do? 25 years is a long time to lay off playing--I have forgotten a lot.
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Author: paul
Date: 1999-11-17 16:08
The basic beginner's trick for playing the altissimo register is to do a three register drill and not change a thing on your embouchure. You will need more air support, so expect it. Be prepared to put a lot more focused air support for the altissimo. I'll repeat this point: Don't do a thing to change your embouchure - not a single thing.
So, here's the drill. Start real low and slow, then step up a register at a time, still nice and slow. Let the notes speak out on their own with as little effort on your part as possible. Play low chalemeau A in a nice long tone. Slowly open the register key for clarion E. Slowly roll the left first finger down until about half of the tone hole is exposed for the low altissimo C#. Take a break, gain your breath and prepare for the next series of notes in the drill. Low chalemeau Bb, clarion F, low altissimo D (add the Ab/Eb key for this note). Using the right hand second finger, try low chalemeau B, clarion F#, altissimo Eb (with the Ab/Eb key). Now try chalemeau C, clarion G, altissimo E. Then, chalemeau C#, clarion G#, altissimo F. Don't suddenly press the register key or open up the entire left first finger tone hole. Instead, gradually roll the register key open and roll down your left first finger until the note speaks - then stop rolling down your finger. Do these first sets of drills "stepping up" only. Next, when you think you have this down and the notes speak well for you, try the same drill "stepping down". Stepping down won't be very easy, and there will be times that you think the register key is still open, even though it's closed. Keep on trying until you can step down nearly as smoothly as you can step up. You will never be able to step down as smoothly as you step up, but the trick is to eventually convince the audience that you can.
For many novices, the very smooth transition from the clarion register to the altissimo register and back down is a significant challenge. I'm an adult novice very much like you and it's taken me years of practice to approach this goal. It will take me years to get it down smoothly. But, that's the fun part of it. I can take my time and do everything very slowly and smoothly. So, just like riding a bicycle, when I finally "get it", I can "keep it".
Patience and practice, that's what it takes to play the clarinet well.
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Author: michael
Date: 1999-11-17 19:31
Thanks for the advice Paul. I'll keep working at it. Michael
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Author: Rick2
Date: 1999-11-18 02:52
Two points. If you notice yourself pulling back up high, try playing that way down low. Assuming you aren't pinching the reed, you may be too far forward or too relaxed in chalumeau. It's easy to do because you can get away with it.
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Author: michael
Date: 1999-11-18 12:15
Rick2 wrote:
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Two points. If you notice yourself pulling back up high, try playing that way down low. Assuming you aren't pinching the reed, you may be too far forward or too relaxed in chalumeau. It's easy to do because you can get away with it.
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Rick2, I have tried to remember to do this (pull my lip back from the beginning.) I'll be glad when it becomes natural for me. Right now I keep forgetting and when I get to the higher notes, all I hear is air hissing...I did practice some of what Paul recommended with the exercises and it seems to help.
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Author: paul
Date: 1999-11-18 16:54
The trick with the three register drill is to not change the embouchure at all from chalemeau to altissimo. No lip position change, no throat position change, nothing. Just more support is all you need. If you have the proper amount of lower lip tension and the correct placement of the lower lip on the reed for the chalemeau, you won't need to change a thing but the amount of air support.
The killer with me was that I was unconciously squeezing my throat for the higher notes. I was choking myself and squeezing the life out of the horn at the same time. I had to learn how to open up my throat and keep it open for the altissimo just like I did for the chalemeau. Relax. Do nothing to change your embouchure or your ability to give a nice strong flow of air to the horn. Let the horn speak the notes on its own. Amazingly simple and truly effective. Keep it that way and you may surprise yourself at how well the altissimo speaks on your horn.
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Author: Ray Swing
Date: 1999-11-18 21:03
I hate to admit it on this board, but I have to do a little "Pinching" on Altissimo B and C. What all the experts say on this board about using the correct "Non Pinching" Embouchure with good air support is fine up to B flat, but not for B and C. I suspect everyone does a little pinching at that level if for no other reason than to bring those notes into pitch. I'd like to ask the board experts if they really are able to pop C without pinching (maybe just a little).
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Author: paul
Date: 1999-11-19 15:56
One trick for learning how to play the altissimo is to go ahead and play it loudly at first. No holds barred, just let it speak out. Open up wide and let it go. This is a highly irritating thing to do when the rest of the family has to share the house with you or the rest of the apartment building can hear you. However, the notes came out clear and very much in tune when I just let them go with no volume control. If your music store will let you rent a studio on a regular basis, go for it. You can play as soft or as loud as you want and few people will complain. Of course, the real trick is to play the altissimo register with volume control, keeping the notes in tune and speaking but at the ppp level. This takes a lot more breath control, it takes a lot more discipline, but it can be done. Once you learn what it takes to let the notes speak wide open, then apply the volume control you need. Don't try it the other way around (control then speak). I did it all wrong and it took me years to catch up as a part time hacker/novice.
Now that I have learned how to play at least to the middle part of the altissimo (up to high G), I play the entire chromatic scale all the way up to high G and back down as the last warm-up drill in my routine. Keep in mind that I play for several minutes at the lowest chalemeau range into the clarion range first. After the horn is physically warm to the touch in the barrel (indoor conditions) and I'm ready, then I go up to the mid altissimo range.
If you are a novice like me, don't expect this skill to drop into your lap over night. It took me years of practice as a part time hacker/novice to get this far. I still have a long way to go. And, as the Webmaster likes to say "Your mileage may vary".
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Author: Elkwoman46
Date: 2007-02-15 13:59
Hello, I would like to ask here (I hope I found a good searched through the archives one) to ask this here...my problem that I am having is not so much hitting the high notes, and I do see that I have a great learning curve all over again to get it right, but another thing about the register key...
It is the register key that is giving me problems. For some reason I don't remember this being a struggle many years ago. But when I have my left thumb over the hole, I find it very hard to know exactly where to adjust my thumb to open the register key. I noticed my left hand is flinging out everywhere trying to get it while holding the hole closed. It is for some reason hard for me to do both at the same time where I am getting leaks out of the hole. I know my hands/fingers are a bit small, but they are not that small.
Wondering what exactly is the right position for the wrist of the left hand,
should it be moving all over the place to reach and close and open the register key?
That does not sound like a good technique.
Should the thumb be more straight up?
Or should the thumb be more on a 90 degree angle?
Thanks bunches. I am having a blast.
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Author: Chris P
Date: 2007-02-15 14:13
Your left thumb should only nudge the speaker key with the uppermost edge with a slight upward movement or slight rotation depending on your physiology, but not a huge movement at all.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Bob Phillips
Date: 2007-02-15 15:29
Half holing to sneak into the alti works; but in may not be the best normal and rapid technique.
The resistance of the clarinet in the altissimo changes a whole lot when the first finger hole on the left hand is shifted. My experience is that I was taught to half-hole as a kid, did it all my life and ended up a couple years ago needing to break the habit. My new horn doesn't like half holing at all. The resulting notes are out of tune if I shade the first left hand hole, and the notes won't speak.
My teacher had me wave my first finger in front of my nose when I jumped into the altissimo. I've been doing the Kroepsch book 1 and the Baermann etudes. Like yours, they incorporate the altissimo and demand a lot of attention to groove in the fingering transitions.
In this regard, learn all of the many, many alternative fingerings for notes in the alti, and learn to get them all to speak. Favor those that play with the best intonation. In general, pick the fingering that is easiest to stick in between the adjacent notes. One such: from altissimo D or C#, go to altissimo G using x00|xxxEb.
With alti F#, use the pair 0x0|00(sliver)Eb and 0x0(side Eb)|00(sliver))Eb.
The Jr. High 0xx|xx0Eb actually ain't the best G.
The point made above about supporting the tone is critical.
Try, too, using more mougthpiece. Take more mouthpiece in for the alti attempts and see if it helps. If it does, use that much mouthpiece ALL the time.
Good luck, and the diligence to carry it through.
Bob Phillips
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Author: Chris P
Date: 2007-02-15 15:43
"The Jr. High 0xx|xx0Eb actually ain't the best G."
I've never used that one and this is the first I've heard of it. I usually play F# as oxx|xxxEb, so I can only assume that G fingering is a bit flat.
oxo|xxoEb is the one I usually use, but sometimes xoo|xooEb which is slightly sharper.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: GBK
Date: 2007-02-15 17:46
I've always referred to:
TR o x o / x x o Ab/Eb
as "Junior High School" high G (G6)
This fingering produces a G6 which on most clarinets is sharp and not entirely dependable on soft attacks.
With the numerous possible fingerings for G6, there are better choices ...GBK
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Author: Carol Dutcher
Date: 2007-02-15 18:21
With me, it is the reed for playing high notes. If I use my usual 2.5 reed, I have trouble. If I switch to a #3 reed, it is easier.
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Author: sherman
Date: 2007-02-15 19:23
I knew Harold Wright mostly by his performing, and I learned perhaps the most significant thing from his playing. It was amazingly consistant and whenever I am able to completely emulate it, I am indeed very happy. What he did was to always play softly in the high register, and with always the best, most lovely sound he could produce. And that, was quite something, unforgettable. I think of it each time I play.
I can analyze this by the hour, however as in many things, I find that going from the sound is always best
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Author: genieman123
Date: 2007-02-15 20:14
you should definitely not push your lower lip in. This cuts off the vibration of the reed and kills your sound. Instead, you should make sure that the part of your lip right above your bottom teeth contact the reed. This will allow for maximum vibration and great sound
Andrew
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