 The Clarinet BBoard
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Author: P4sEnvy
Date: 2012-12-12 19:18
How does one come about producing a good sounding note in upper-upper register?
I have a solo with mutiple high F's and a 3 second long high G - how can I make the note come out with precision and not just sound like a squeak? I usally have to 'run' up a few notes before I can get it to come out - i just can't breathe and play it.
Thanks!
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Author: sfalexi
Date: 2012-12-12 19:35
When you're running up a few notes, you're positioning your jaw and setting your air speed and everything for success. Maybe when you're just trying to start on it, you are not preparing your air, embouchure, etc the same way it would be for a G.
I would scour the board for exercises to help with altissimo. I would think register changes would work (hold a C# long tone, press the register key and let it become a G#, then slowly put down your right hand fingers for the long F and "let" it become an F).
Also, when you run up to an F or G, continue to play it and hold it out, and take a mental note of what your airspeed is, embouchure, etc. and try to replicate it.
Also check out different fingerings. Some fingerings will come out easier and sound fuller (the long F that I mentioned above). But most of the time it's an airspeed/embouchure issue and there are lots of exercises and studies on this bulletin board that can help you.
For what it's worth, if you see an exercise written down by "Ken Shaw", it probably works. Every time I've tried one of his exercises, it's helped me get better.
Alexi
US Army Japan Band
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Author: P4sEnvy
Date: 2012-12-12 23:34
Well I did realize recently that to get the high notes out, I dig my teeth into my bottom lip - if I don't the note will not come out.
I actually played to the point of bleeding today ):
I tried with the same embouchure without running up, and I could not do it.
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Author: gsurosey
Date: 2012-12-13 00:27
What is your mouthpiece/reed setup? Maybe you need a harder reed and possibly a closer mouthpiece.
One thing I've noticed in stepping down slightly in reed strength is that my upper altissimo doesn't come out as well (I'm also still working on the voicing). Santa is bringing me a box of reeds for Christmas (Vandoren V12 3.5+), so I'll see if that strength is better for me. V12 4s are a little too hard, and the Rico Grand Concert Select 3.5s I'm currently playing on are almost too easy. I play on a Fobes CWF mouthpiece.
----------
Rachel
Clarinet Stash:
Bb/A: Buffet R13
Eb: Bundy
Bass: Royal Global Max
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Author: P4sEnvy
Date: 2012-12-13 00:31
Playing on a Vandoren B45 Mouthpiece
With 3.5 Vandoren traditional blue box reeds.
Dunno if it matters any but playing on an E11 right now - as my Master Model is in repair.
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Author: Chris P
Date: 2012-12-13 10:57
B45s have a fairly wide tip opening which could be causing you problems in the altissimo.
Try a closer tip opening (such as a 5RV Lyre) as this will make the altissimo speak much easier. You'll most likely have to go up a half or a full strength with your reeds to compensate as well.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: P4sEnvy
Date: 2012-12-13 12:13
I just bought this B45 as well..
And I've been trying to get used to a Vandoren 4 - but it's quite difficult.
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Author: Chris P
Date: 2012-12-13 12:41
How easy and clearly is the low register playing for you? If it's hard work and sounds stuffy and fuzzy (especially on B with the chromatic fingering, C, C#, Eb, E and open G), then you're using a reed that's too hard.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: P4sEnvy
Date: 2012-12-13 14:41
The low register is perfectly fine for me - no difficulties there.
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Author: Claireinet
Date: 2012-12-13 16:50
How is your tongue position? That could be part of the issue.
If it is not "high" it could cause you problems in the upper registers that you may not otherwise notice in your lower range (though with proper position your lower register will sound better as well).
Out of curiosity, what are the notes prior to your F's and G? This may help us in our replies to you, considering you mention there being some sort of interval jump.
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Author: P4sEnvy
Date: 2012-12-14 15:05
Arching my tongue seems to help the note sound clearly I believe, but it doesn't really help to get the note out by its self.
A couple of the F's are the conclusion of runs - but they're at the end of 32nd runs so I can't position my mouth to get ready in that short of time.
One of the G's is from an A above the staff - not much of a transition but enough to not be able to straight play it.
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Author: Bob Phillips
Date: 2012-12-14 15:56
Experiment with one of the "long" F6 fingerings.
TR XXX G#/C# | XXX
or
TR G# XXX|XXX
Those are usually easier, by far, to reach from the clarion register than the
TR OXX G#/C# | OOO Eb
Also "voice" your mouth cavity. Raise the back of your tongue and form an "EEE" sound. Doing that in a lower register can cause squeaking --in case you want some way to test to see if you've "got it." You can hold that "voicing" down into the high clarion to about G5, which lets you slur down.
Bob Phillips
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Author: P4sEnvy
Date: 2012-12-14 20:55
I found a fingering that works well for that G's - it sounds a little out of tune but it's just a short note.
TR X O O / O O O Eb
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Author: Ed Palanker
Date: 2012-12-16 13:30
There are many reasons you are having a problem with this and there isn't always an easy answer and there certianly isn't one answer. It could have something to do with your mouthpiece or your reed or your clarinet. If all those things are good than it's a matter of voicing the notes properly and that's a big subject because it has to do with the placement of your tongue and how you control your throat. Than that has to do with the size of your tongue. I would suggest you experiment with how you are placing your tongue in your mouth. Though it could be different for many I do have some ideas about placement in some articles on my website. One thing to try is when you go up the scale and the note comes out hold it and think about how you're placing your tongue and then try to copy the placement when you play that note again. Keep in mind that when you just try to play that note from a start the tendency is to pinch your embouchure too much or choke in your throat, closing it off. It will take some experimenting and patience.
ESP eddiesclarinet.com
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Author: P4sEnvy
Date: 2012-12-17 14:06
Okay - thank you for your input.
I will try to focus on my tongue and how is it placed when I play the note.
I only have about a month to perfect it - but hopefully in time it will come.
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Author: bethmhil
Date: 2012-12-17 15:24
The tongue is only part of it-- tongue position affects air speed/direction. It's like when you have a hose and you put your thumb over where the water is coming out. If you position your thumb just right, the water shoots out much faster and further. The amount of water obviously doesn't change.
Arching the back of the tongue should theoretically make the air stream smaller and more focused. I teach my students to visualize the air stream as a laser beam, as opposed to a flashlight when playing high notes.
Try some slow, melodic flute etudes. That worked wonders for me and making my altissimo sound much more mellow.
BMH
Illinois State University, BME and BM Performance
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Author: DrewSorensenMusic
Date: 2012-12-17 17:45
Be wary that you don't translate focused air into tight muscles. You should still feel relaxed when you play.
A little teeth is fine in the upper register, but bleeding is a bad sign. You should be as relaxed as possible while getting the note.
I suggest spending more time with a tuner and alternate fingerings. Use the fingering guide (http://www.wfg.woodwind.org/clarinet/cl_alt_3.html) and go through all the possibilities. It is very very important you do this with a tuner. There's no use in learning an out of tune note, and when you go through all the possibilities, your frame of reference can shift. Long fingerings, pinky fingers, trill keys, all these combinations will have a slightly different effect on the clarinet, until you find the combination suited to your particular setup. The process will take a few days. The first day you should narrow your search down to 2 to 4 possible fingerings. The second day you should try the fingerings in different melodic passages. The third day you should have a clear picture of what fingering has worked most consistently.
As for myself, I used the fingering RT -23C#|--B-G#. The added B trill bring the pitch up slightly, relaxing my tips to get a fuller tone. All clarinets are different, as well as how you play, so take some time, you'll get there.
Drew S.
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Author: dtiegs
Date: 2012-12-18 02:06
I was taught to play the highest, comfortable, and in tune note that I know. From there I was to play the half step higher note. I was to repeat this multiple times slowly, until I was able to produce an even, in tune, and comfortable transition between the two notes. I repeated the whole process, until I got to the next octave; to enforce the new territory of newly familiarized notes, I was asked to practice scales within that register. Long tones ( I used to hate these ) until recently, I realized that the longer I played the note in my warmup, I was able to hear the note before I played it. If I could mentally picture the note, I was able to produce a solid sound. Later on, I developed a biting issue and currently, I still do; I too would bleed from the inside of my lip from braces. One day, I mentioned it to my sax teacher, he replied with, "... don't bite... high notes are like farts, if you have to force it (bite the reed to get the high note) it's probably s***t." I could not stop laughing. ( I apologize for the improper language used.)
I realize that what may work for me may not work for you. These are some of the things that helped me get past obstacles.
DTiegs
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Author: morbius
Date: 2012-12-18 14:36
How's your embouchure? Corners firm? V shaped flat chin? It's been my experience that poor embouchure or "chewing on the reed" as Mr. Marcellus used to say is 90% of the problem. The other part is the position of the tongue, especially the back (think the syllable eeeeeee) and the middle, which changes with the register.
John Dorch
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