The Clarinet BBoard

RE: High Schooler needs pointers

Author: Kevin Bowman  Date:   2000-04-20 19:54 Fred, If I understand you correctly, you are talking about notes near the top of the clarinet's range (5 leger lines above the staff?). As a jazz player without any formal training, you may not like the advice I have to give But here goes anyway. Tonguing: it takes a lot of breath support and a very good embouchure (firm and steady) to tongue notes in the altissimo with good effect. You are probably experiencing one or two things when you tongue: 1) the note starts with a "dead" tone, or 2) the note starts below pitch. The dead tone is a result of inadequate breath support behind and the pitch drop is due to an (unfirm) embouchure that moves when you tongue. Recommendation: learn how to form a good (classical) embouchure first then practice slurred intervals into the altissimo - this goes to the air support problem. Practice stacatto excercises (in all ranges) to improve tonguing. With more tongue and air control, you will eventually be able to tongue all notes delicately at all dynamic levels. Tuning of high altissimo: depends to some degree on the quality of your instrument, mouthpiece, and reed. These ultra-high notes are problematic, at best. A slightly harder reed will help. Keeping a firm embouchure (don't pinch - the sound will become thin) also helps. Also, lots of breath support. A faster air stream with less air volume is called for. And in the end, some fingering modifications may be required. Here are the fingerings I use for B4 and C4: B4 RT 12-|12- Eb C4 RT 1--|1-- Eb C#4 is a difficult note to finger: C#4 RT 1--|1-- Eb , add RH sliver key and lower 3(!) side (trill) keys. May have to open the LH sliver key too. D4 RT --3|--3 Eb - make sure you have an excellent reed to get this high. Reeds: I would reccommend you learn to play on a single strength reed for ALL applications. I can see whay you'd use a softer reed in the lower register - the tone "cuts" a little better. I've been using sop. sax reeds on my clarinet for jazz work lately. You have to sand the edges down a bit because they are a bit wider. Just for grins, try a Rico Jazz 4 or 4.5. The jazz cut really does wonders for getting a little brighter tone for jazz. However, the upper register may suffer in tone. I usually don't venture farther than A4 with these reeds. Gliss: You are correct. It is very difficult to bend and gliss below the clarion. The clarinet is very acoustically stable down there. I think any instrument in its "fundamental" mode is going to be difficult to get to bend and gliss. It can be done, though. You just have to really loosen the lower jaw (a LOT), a

Reply To Message

RE: High Schooler needs pointers

Author: Kevin Bowman  Date:   2000-04-20 19:55 Fred, If I understand you correctly, you are talking about notes near the top of the clarinet's range (5 leger lines above the staff?). As a jazz player without any formal training, you may not like the advice I have to give But here goes anyway. Tonguing: it takes a lot of breath support and a very good embouchure (firm and steady) to tongue notes in the altissimo with good effect. You are probably experiencing one or two things when you tongue: 1) the note starts with a "dead" tone, or 2) the note starts below pitch. The dead tone is a result of inadequate breath support behind and the pitch drop is due to an (unfirm) embouchure that moves when you tongue. Recommendation: learn how to form a good (classical) embouchure first then practice slurred intervals into the altissimo - this goes to the air support problem. Practice stacatto excercises (in all ranges) to improve tonguing. With more tongue and air control, you will eventually be able to tongue all notes delicately at all dynamic levels. Tuning of high altissimo: depends to some degree on the quality of your instrument, mouthpiece, and reed. These ultra-high notes are problematic, at best. A slightly harder reed will help. Keeping a firm embouchure (don't pinch - the sound will become thin) also helps. Also, lots of breath support. A faster air stream with less air volume is called for. And in the end, some fingering modifications may be required. Here are the fingerings I use for B4 and C4: B4 RT 12-|12- Eb C4 RT 1--|1-- Eb C#4 is a difficult note to finger: C#4 RT 1--|1-- Eb , add RH sliver key and lower 3(!) side (trill) keys. May have to open the LH sliver key too. D4 RT --3|--3 Eb - make sure you have an excellent reed to get this high. Reeds: I would reccommend you learn to play on a single strength reed for ALL applications. I can see whay you'd use a softer reed in the lower register - the tone "cuts" a little better. I've been using sop. sax reeds on my clarinet for jazz work lately. You have to sand the edges down a bit because they are a bit wider. Just for grins, try a Rico Jazz 4 or 4.5. The jazz cut really does wonders for getting a little brighter tone for jazz. However, the upper register may suffer in tone. I usually don't venture farther than A4 with these reeds. Gliss: You are correct. It is very difficult to bend and gliss below the clarion. The clarinet is very acoustically stable down there. I think any instrument in its "fundamental" mode is going to be difficult to get to bend and gliss. It can be done, though. You just have to really loosen the lower jaw (a LOT), and of course the tone will suffer a bit I'm glad to see there are young people willing to champion the clarinet as a jazz instrument. Keep working at it. Also, if you have opportunities to receive formal training, by all means, do it. Everything you learn in classical training can be applied to jazz. (Benny Goodman was classically trained, as are Eddie Daniels and Buddy DeFranco and many others). Kevin Bowman

Reply To Message

Avail. Forums  |  Need a Login? Register Here

User Login  User Name:  Password:  Remember my login:

Forgot Your Password? Enter your email address or user name below and a new password will be sent to the email address associated with your profile.