 The Clarinet BBoard
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Author: rick2
Date: 2002-01-06 03:06
This is mainly for Ken, Dee, and Mark and any other experience players.
I picked up my clarinet after about a 9 month layoff and after a few days I managed to hit every note up to super C. The question I have is one of mechanics.
In order to force out B and C (5 ledger lines above the staff) I have to clamp down on the reed like crazy. The handful of notes just below these take only a small adjustment of lip position in order to overblow, but these last two notes are a bear.
Is it normal to need to clamp down like this to coax out these highest notes, or is there a better way?
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Author: col
Date: 2002-01-06 08:41
From my experience by " clamping down " on the reed for these two notes you are increasing the pressure on the reed which decreases the vibration of the reed and produces the extreme top notes. The problem with clamping down using your teeth, which i imagine is what your are doing, is that it will create a thin tone on these notes, and may lead to you miss pitching ( possibly even higher ) as there is very little control over the pressure. You should try to build your embouchure up with long notes and this will overcome the problem. Of course these notes are hardly every required so unless your going to play some of the more demanding 20th century music i would not worry about it.
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Author: William
Date: 2002-01-06 15:16
Even though not included on your list of experts, I would suggest opening your A key along with the normal B and C fingerings. This will help raise their pitch and expedite their response. You should not have to "clamp down" for these notes--if you are already using a firm, well balanced embouchure and your reed is good and balanced to your mpc, these "ultra-notes" should speak easily. Just pass out ear plugs to the rest of your family. Good Clarineting.
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Author: Joseph O'Kelly
Date: 2002-01-06 15:27
Try doing the opposite of clamping down and try loosening up.
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Author: Ava McDowell
Date: 2002-01-07 00:43
While I play the clarinet (pretty well, actually) I am a bassoonist. Playing in the ultissimo register on clarinet is similar to playing the highest notes on the bassoon. Both instruments are physically too long to play that high.
The trick I have found that works involves (unfortunately) a whole lot of sit-ups. I had a hard time getting high notes out on both instruments until I started doing 50+ crunches each day. As my ab muscles strengthened, I was able to tighten them into a hard wall which seemed to stop the sound waves from resonating farther into my body and, in effect, shortening the instrument.
I know it sounds weird, but I play to the top note of both instruments (when I remember the fingerings, since I don't usually need to play in the stratosphere) with minimal chomping.
Give it a try, the worse thing that can happen is you get strong abs. One of the major side benefits is that you get better support with less work and your tone will improve. I switched from a Selmer D mouthpiece to an HS* because my embouchure was able to relax! Good luck!
Ava
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Author: Richard Fong
Date: 2002-01-08 06:33
Ava, very interesting trick, hard for me, I am fat. (I will try !! )
rick2,
Are you sure the fingerings of C7 and B6 are correct (or good for you and your instrument)?
For me, I use the same lip position of A6 to play the C7, of cos, Bb6 and B6. For C#7 to G7, I just move down a little bit of my lip, add a little of force.
My teacher tought me, playing hight notes, your mind should as relax as you are playing C4. For me, I pratice by finding out the lip position, air support and fingering of every single note. I start from C#6 go up to C7 by chromatic scale. Everytime I increase one half note, make sure I can going up and coming down, then moving on.
Is it help you?
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Author: Ken Shaw
Date: 2002-01-09 17:10
Rick -
Getting out high C is more a matter of breath and voicing than embouchure.
First, breath in all the way down to your belt, filling up from the bottom to the top until your chest rises on top of the air. Then relax and let the air rush out. If you push at all, it's down, not up.
Next, stuff a cloth swab or handkerchief tight up the bell, finger third-line B, fill up with air and blow like the wind. You will first get an Eb above the B, which you'll be able to make jump up to Bb and higher harmonics by taking more mouthpiece, loosening your embouchure and finding the right voicing with the back of your tongue.
Then remove the swab, finger high C, blow the same way and, once again, find the right tongue position to "pop" that overtone.
It often helps to open the throat Ab key or put your right little finger on the F#/C# key, or both.
Good luck.
Ken Shaw
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