 The Clarinet BBoard
|
Author: Wobby8288
Date: 2018-12-20 18:43
Hi,
I will be playing clarinet, bass clarinet and alto sax in my school's musical next year. Anyone have any tips on how to quickly adjust to the embouchures of the different instruments within a few bars? (especially sax to clarinet)
Also, any tips on a good set-up to quickly pick up/put down the instruments?
Thanks
|
|
Reply To Message
|
|
Author: smokindok
Date: 2018-12-21 00:07
I believe it is important take the approach that each instrument is different and requires a different embouchure, and not succumb to the temptation of thinking that the embouchures are "basically the same". Stay focused on producing the proper embouchure for the instrument you are playing at the time. With practice your "embouchure memory" will become more second nature. For the show I am playing tonight, I have clarinet, bass clarinet, soprano, tenor, bari, and flute. It is still a struggle at times to make that fast change to flute!
You will have a great time! Pit playing is challenging and a lot of fun. What show are you doing?
John
|
|
Reply To Message
|
|
Author: kdk
Date: 2018-12-21 01:05
More than embouchure changes, I find physically switching instruments to be a challenge. The show I played last month, in which I switched regularly between tenor and clarinet, I ended up for much of the show playing the clarinet while holding the tenor on my lap because there wasn't enough time where the changes had to be made, sometimes involving a page turn. It was less risky just to leave the tenor in place resting on my lap while I played the clarinet parts with my arms awkwardly held to avoid interference from the sax.
It is fun to play pit work, but not always comfortable.
Karl
|
|
Reply To Message
|
|
Author: kdk
Date: 2018-12-21 01:17
smokindok wrote:
> I believe it is important take the approach that each
> instrument is different and requires a different embouchure,
> and not succumb to the temptation of thinking that the
> embouchures are "basically the same".
This idea always intrigues me. I don't want for even an instant to suggest that the embouchures are the same. But I find that the structural elements are, and the different sizes, shapes, facing curves and exit angles of the various mouthpieces more or less enforce whatever adjustments are needed. Of course, you need to have a good concept of the sound and response you want to get from whatever equipment you're playing (this is true whether you're doubling or not). But, IMO you use the musculature in the same ways while accepting or accommodating the physical differences among the various bodies intruding into your mouth.
What specific differences do you find are needed in the approach to embouchure among the various clarinets and saxes? Or are we using different words to describe the same thing?
Karl
|
|
Reply To Message
|
|
Author: smokindok
Date: 2018-12-21 09:06
I think we are more likely describing the same thing two different ways, Karl. I don't think it useful to try to make generalized recommendations regarding embouchure changes between instruments as there is so much variation and personal preference. My point is only that I believe it best to develop your embouchure and technique on each instrument and not to try to force the details of your embouchure to be the same across various instruments. But, certainly you are correct, the fundamental technique is, of course, the same.
As an example, voicing to play the soprano sax in tune can be challenging. For me it works best if I am playing a fairly resistant setup with a much harder reed than I would ever find comfortable on tenor. On one hand you could say that my soprano embouchure is nothing like my tenor embouchure, but on the other hand it is indeed just an adaptation of the same fundamental embouchure concepts.
John
|
|
Reply To Message
|
|
Author: Jordan Selburn
Date: 2018-12-21 09:30
Smokindok/John - That instrument combo sounds like Shrek. Fun show!
Wobby, logistically I would put the clarinet at 1 o'clock (you're facing 12), the alto sax at 2 o'clock and the bass clarinet at 10/11 o'clock. Each will be easy to hand, the sax is positioned to play on your right side, and the big instrument separated so that you don't hit it with any of the others.
Compare that to the clarinet/flute (c clarinet in this case)/bass clarinet/soprano/tenor/bari setup required for Shrek. I had the c clarinet at 8 (it was the least used, and having it behind kept me from picking it up instead of the Bb), soprano sax at 9, Bb clarinet at 9:30, bass clarinet at 11, tenor at 1 and bari at 3.
Jordan
|
|
Reply To Message
|
|
Author: smokindok
Date: 2018-12-21 09:37
Karl makes a good point regarding often having to "hang" one instrument, while playing another.
I find it helpful to sort out as early as possible, during tech week, when instruments need to be hung in advance to accommodate a change that would otherwise be impossible. Sometimes you are lucky and there is a longer rest fairly shortly before the fast change, when you can hang the instrument in preparation, avoiding having to have the instrument hung for long periods of time. Mark those spots in your book, so you don't miss preparing for the change.
As a student, I assume you will have the chore of erasing your own book at the end of the run. Using Post-it notes and Post-it flags can really minimize the amount of writing you need to do in the book and makes the erasing job much easier.
John
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
