 The Clarinet BBoard
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Author: Kevin L. Oviatt
Date: 1999-12-07 02:07
I am using a b45 mp and #3 v12 reed and things were progressing right a long and now it seems as though suddenly I am having tone production problems most notably in the low register,I recently resumed playing on a used Buffet that checks out ok by the repair man,do I need a thicker reed, am I suddenly pinching? overblowing?as my muscles and wind improves,I'd appreciate any ideas before I spend any more money. I'm working without instructor.
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Author: Rick2
Date: 1999-12-07 03:15
As a test to see if you are pinching, blow a long tone (chalumeau C works well because pinching kills the "nasal" tone), then in the middle of the tone puff your cheeks. If the tone changes, you are pinching. Try to match the tone to the sound you get with puffy cheeks without puffing. It's a good sanity check when you hear something not quite right also.
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Author: Dee
Date: 1999-12-07 03:51
Something else to check is how much mouthpiece to put into your mouth. I can't tell the exact amount of course but if you put too little in, it seems to lead to pinching and if you put too much in, it's pretty much impossible to control the tone at all.
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Author: William
Date: 1999-12-07 15:27
Covering all the proper tone holes?????? Just a wild shot in the dark :>)
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Author: Kevin Bowman
Date: 1999-12-07 16:36
Try Ave Galpers "tone enhancers". While it's still possible to "pinch" or "bite" using them, they will make you _much_ more aware that you are doing so. They have helped me relax my embouchure a bit while maintaining flexibility and control.
Kevin Bowman
BTW - I only endorse this product because I think it works! I have no connection with Mr. Galper.
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Author: paul
Date: 1999-12-07 16:55
I use a Vandoren B45, but with a softer reed. I typically use a Vandoren V-12 2.5 or an equivalent to the Vandoren 2.75 (either customized 3 or a Legere made to that strength). My embouchure and diaphram can't support a stronger reed and I find that I really don't need a stronger reed. It's becoming easier every day to go from very low chalemeau E all the way to altissimo G on a V-12 2.5 reed. But, that's me and my own conditions.
First, try the no cost solutions recommended above. They really do work. I know, because I've used them with success. Next, see if a local woodwind tech can check out your horn and mouthpiece to see if everything is okay, all the way up and down. Make sure the lay of your Vandoren B45 mp is completely flat and make sure you have no leaking pads, especially in the throat region of your upper joint. Typically, minor adjustments like this are minimal to no cost repairs. Again, been there, done that.
I have a box of 3.5s that I have never opened. I have a box of 3s I've taken a reed or two out of. The box of 2.5s is almost gone. I could have saved a few dollars by not buying the higher strength reeds by the box. If you have a buck or two, try stepping down in reed strength on just one reed. Check out your results against your stock of reeds. You might be surprised at your results. Even if it's a total flop, you haven't spent a lot of money yet.
Even if it costs a month's worth of lessons, buying a pro's tuition to help you get past this problem is well worth the investment. This is a highly recommended way to help you solve your problem. I count the time I have with my tutor as one of the significant highlights of each week, a real "pick me up" at the end of a usually hectic Monday.
Finally, set the B45 aside and go for a pro grade custom made mp. Wow! It made a large difference in playability and tone for me, but it's not a cheap solution. This solution definitely won't work if you don't address and solve the problem using the tips listed above first.
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Author: Ken Shaw
Date: 1999-12-07 17:08
Kevin L. Oviatt wrote:
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I am using a b45 mp and #3 v12 reed and things were progressing right a long and now it seems as though suddenly I am having tone production problems most notably in the low register,I recently resumed playing on a used Buffet that checks out ok by the repair man,do I need a thicker reed, am I suddenly pinching? overblowing?as my muscles and wind improves,I'd appreciate any ideas before I spend any more money. I'm working without instructor.
Kevin -
The B45 is a pretty open mouthpiece. A #3 V-12 seems a bit stiff. Try a 2-1/2 to see how that works.
Still, it seems like something's leaking.
If the pads are OK, there are a few other possibilities. First, make sure the upper and lower joints are put together with the bridge key exactly lined up. The two parts can match up fine if everything is centered, but if they are even a little bit off it can force open the pad attached to the right-hand rings. The way to test is to rotate the center joint until the bridge keys don't touch at all. If everything clears up, take the instrument back to the repair shop to have that connection adjusted.
A second possibility, particularly for a relative beginner, is that a finger is not quite covering its hole. Look in a mirror as you play to see if there are any problems.
A third, and most likely, possibility is that your reed has warped. Try 2 or 3 other (preferably new) reeds to see if this is the problem. If that's the problem, there are a couple of ways to revive the old reed. Turn the reed over and run your finger along the underside, feeling for any unevenness, particularly where the mouthpiece rails meet the reed. If you feel anything, the underside needs to be sanded down absolutely flat. Another method is to wet the underside with saliva and press it gently on a piece of glass, viewing it from the opposite side. If the moisture doesn't spread evenly, the reed has warped and needs to be sanded flat. Use 400 or 600 grit wet-or-dry (black coat) sandpaper, available in hardware stores. Put your fingers only on the bark, and don't press on the tip of the reed at all.
Make sure the reed is contacting the lay of the mouthpiece all the way around. If you're not careful, it's easy to leave a tiny uncovered area at the corners of the tip. Once again, even the smallest leak can cause big trouble.
Another possibility is that a joint is loose. If the cork on the mouthpiece or the top of the upper joint lets anything wiggle, that can kill the response. If a cork is loose, wrap a narrow strip of newspaper 1 or 2 times around the cork as a temporary fix until you get to the repair shop.
A final possibility is that the mouthpiece has been damaged. Try another mouthpiece to check if this is the problem. Then, take the reed off, clean the lay *very* gently with a wet finger and look for any scratch or unevenness. It's particularly leasy to "ding" the corner of the tip, so that even if the reed is positioned properly, it can't seal.
Finally, a teacher or experienced player can recognize what the problem is almost immediately by listening to you or playing your instrument for a few seconds. It would really help to take some lessons to get expert guidance from someone who's actually there.
Good luck.
Ken Shaw
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Author: Rick2
Date: 1999-12-08 04:00
My first instructor recommended 1/3 of the mouthpiece in the mouth, and I used that for quite some time. The instructor I found after moving to Arizona--the one that was in Glenn Miller Orchestra--recommended taking in as much mouthpiece as you can control, with the understanding that the more mouthpiece you take, the more you need to open your jaw. I found that about half the mouthpiece works well for me. It provides better tone because more of the reed is really free to vibrate, and I seem to get better projection. I've tried with as much as 3/4 of the mouthpiece. The sound is great fantastic but it's extremely difficult to control and to me the risks are greater than the reward after about 50% to 60% 5/9 of the mouthpiece. Just IMHO.
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Author: Rick2
Date: 1999-12-08 04:02
For some reason the web site isn't excepting when I delete some words. Sorry for the confusing working in the last post.
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Author: Kevin L. Oviatt
Date: 1999-12-08 10:37
the test worked I was just pinching,thanks for the advice,now if I could only get my fingers to go faster.
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Author: Dee
Date: 1999-12-08 11:44
One of the oddities of life is that any muscle moves faster if the motion is initiated from a relaxed state. So (easier said than done I know) *RELAX*.
Of course lots of drills on scales and arpeggios also help as it gets the sequences moved into "muscle memory."
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Author: HIROSHI
Date: 1999-12-09 06:13
I used to misunderstand 'evenness': place each fingers evenly on keys. This was wrong. I came across a sentence writen in one of Luis Moyse Flute Exercise that each finger has its own momentum and every key too.
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