 The Clarinet BBoard
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Author: rick2
Date: 1999-02-09 14:54
Rubank Advanced 1, page 32, 4th line, first clarinet part, first and second measures: It jumps from clarion D to altissimo F then clarion Bb, altissimo D, clarion F--the last four notes are slurred.
Two questions:
1) When I open the side key to go to altissimo F, it sounds like a squeek to me. Any suggestions on how to make that note sound more musical?
2) The slutted section: I want to overblow the clarion Bb in that slur. Any suggestions on how to be more consistant? Does the emboucher have to be very dynamic in that phrase to keepo you from oberblowing clarion and underblowing altissimo?
Thanks for the help.
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Author: Al
Date: 1999-02-09 15:15
rick2 wrote:-------------------------------Rubank Advanced 1, page 32, 4th line, first clarinet part, first and second measures: It jumps from clarion D to altissimo F then clarion Bb, altissimo D, clarion F--the last four notes are slurred. Two questions: 1) When I open the side key to go to altissimo F, it sounds like a squeek to me. Any suggestions on how to make that note sound more musical?2) The slutted section: I want to overblow the clarion Bb in that slur. Any suggestions on how to be more consistant? Does the emboucher have to be very dynamic in that phrase to keepo you from oberblowing clarion and underblowing altissimo?Thanks for the help.
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Author: Al
Date: 1999-02-09 15:24
Sorry I messed up that previous post!
I'm not quite sure of your question but try the following:
from clarion D to the high F,just add the left hand pinky C#-G# key to the D fingering and you'll get a "covered" high F.Strenghthe the embouchure for this note and move the air faster. For the subsequent Bb, play it forked( one and one) and the next two notes (D and F) in their normal fashion.
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Author: Dee
Date: 1999-02-10 00:31
For the change from clarion D to altissimo F, the embouchure will need to firm up as you make the change (but DON'T pinch). Also use a lot more air pressure but you must then control the amount of air so that you don't blast the note. This requires a lot of practice to coordinate and pull off smoothly and at will.
Going down in registers is even harder. From the altissimo F to the clarion B flat, you will need to *slightly* reduce the firmness of the embouchure (but no flabbiness) and use less air pressure. In going down from one register to the next, the clarinet tends to want to stay in the higher register or give you a harsh or squacky sound on the lower note. Again this takes lots of practice and even skilled players may blow this one from time to time.
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Author: Ginny
Date: 1999-02-10 01:32
Gee guys, my new teacher is telling me not to change my emb. Should I change my teacher?
Ginny
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Author: Dee
Date: 1999-02-10 03:30
Ginny,
I think that perhaps he/she takes this approach because students will put a "death grip" on the mouthpiece trying to get the notes to speak. To avoid the sins of pinching and biting, the instructor will say no change. Otherwise if you tell a student to use a firmer embouchure, they will strangle the poor reed. In reality, if you could measure the firmness of his or her embouchure, you would most likely find that it does vary slightly over the range of the clarinet. The subtle changes in firmness come only with time. However the shape of the embouchure and steadiness of the embouchure, etc does not change and one should never, ever bite or pinch. Also this instructors approach will probably get the students to develop proper breath support first, which is a really key issue.
So I would say that there is no need to find a different instructor just because they say to keep the embouchure the same.
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Author: rick2
Date: 1999-02-10 14:58
Ginny, Rather than tightening up by pressing your lips together, try pulling the corners of your mouth in. Well, to some people it's pulling in, to some it's trying to smile, but I think it's really two ways to describe the same thing. What notes are you working on specifically?
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Author: rick2
Date: 1999-02-10 14:59
And by the way, in altissimo, my instructor tells me to "keep your emboucher tight."
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Author: Kevin Bowman
Date: 1999-02-10 15:35
Dee wrote:
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[clip]
Going down in registers is even harder. From the altissimo F to the clarion B flat, you will need to *slightly* reduce the firmness of the embouchure (but no flabbiness) and use less air pressure. In going down from one register to the next, the clarinet tends to want to stay in the higher register or give you a harsh or squacky sound on the lower note. Again this takes lots of practice and even skilled players may blow this one from time to time.
-----
Yup. I've been working on just the *last measure* of the Poulenc Sonata (3rd Mov't). There's a jump from altissimo F# (for which I use the long fingering) to chalemeau F# -
a 3 octave jump down. If the first beat in that measure doesn't kill you, the jump down certainly will!
Kevin Bowman
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Author: Ginny
Date: 1999-02-10 23:20
Forgive my sometimes creative spelling please.
I harden up my emboucher for the altissimo notes (those in the very highest register)- I have some stuff I play that uses the c#, d and e (I think) up there. They still glup more than I'd like, but they sound pretty sweet. The dog no longer sits mournfully by the door as I play them.
I also tend to change for the throat notes, though I've found an excellent finger addition for my WONDERFUL new Festival. I also seem unable to help it when playing with some friends and I can't pull in or push out as we go, so I lip it in or out. I suspect I do it a bit too much.
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Author: Kevin Bowman
Date: 1999-02-11 04:31
Warning: the embouchure should not change!
The danger is to "bite" when going higher in pitch. This is dangerous because causes the tone to become thin and can make the altissimo register insecure. Here's something to try to *prove* that one only needs increased breath support in order to obtain the high notes:
Play low F (the lowest F on the instrument - use the RH pinky. Then, make sure you are "pushing" sufficiently from the abdomen (think of pushing the stomach "down and out") - playing a nice full forte helps but don't let the tone get raunchy. Now, simultaneously release the RH pinky and press the register key and C#/G# key (LH). *Do NOT change your embouchure* - try to "trick" yourself. You should hear the F three octaves higher - this is the "covered" or "long" fingering for altissimo F.
This is a good exercise to do daily. You can also do F# (use LH on low F#, then "exchange" LH pinky for RH Ab/Eb key while pressing Reg. key and lifting LH 3rd finger). Also, play 12ths (from chalemeau to clarion) by simply pressing the register key - pretend you are playing the low note when you press the reg. key but make sure you have sufficient air support - and 6ths (from clarion to altissimo) by lifting LG 1st finger and adding RH Ab/Eb key.
Play these as long tones so you can concentrate on tone quality and intonation as well as your *unchanging* embouchure.
Though the embouchure does NOT change, your lower lip should remain firm but flexible. This means you should provide a solid foundation for the reed to vibrate upon but don't bite or pinch. Learn to relax you lower lip while providing an unmovable jaw (but let the lip go flabby). What will eventually happen is your lower lip will automatically make *very minor* adjustments to correct pitch (to some degree). Your lip will learn to do this by itself as you continue to play long tones and listen to pitch every day.
One more thing (I know this is getting long). The embouchure does not change BUT you can change pitch and help the altissimo notes by "voicing". Voicing means changing the shape of your oral cavity (usually by shaping the toungue). With practice, you can learn where various notes are "placed" in your oral (and even your nasal) cavity. This is quote tricky and requires a great deal of practice and patience. As you go higher in pitch, cause the air stream to move faster by forming the letter "E" with your tongue - think of hissing, but from the *back* of your tongue. We say "keep the tongue high".
Whew! that's enough, I think.
Kevin Bowman
Clarinet and Saxophone Instructor,
Rochester Conservatory of Music, Rochester, MI
and
Saxophones, Clarinet, and Keys,
B-Side Blues Project
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Author: Rick2
Date: 1999-02-11 04:55
Yes, that is the fingering that Rubank calls for on that note. It seems to be coming along. Proper phrasing of that measure seems to help quite a bit also.
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Author: Ginny
Date: 1999-02-11 19:34
Thanks to all of you, I actually print and keep some of these posts, such as Kevin's 2-11-99. A place of honor on my music stand.
Ginny
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