 The Clarinet BBoard
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Author: karlbonner82
Date: 2010-05-05 10:08
In the old days, I generally could get a bit of the smooth/hollow tone quality up to E or F in the clarion, but any higher and I lost it. The last couple days I've noticed that I'm getting some of this timbre on the G now, and while my clarion A doesn't sound hollow it does seem nicer than in the past. Perhaps the exercises are starting to pay off.
But what I really wanted to know is how high the professional or advanced amateur clarinetist can carry the characteristic smooth tone color. Can any of you make it all the way to high C (not double-high C!) and still get the kind of sound I'm talking about?
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Author: srattle
Date: 2010-05-05 11:17
It's a little difficult to know exactly what kind of sound you are talking about. I would say most of us wouldn't like to describe our sound as 'hollow'.
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Author: RoBass
Date: 2010-05-05 12:44
What's the meaning? And how long are you learning/practising clarinet yet?
kindly
Roman
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Author: Paul Aviles
Date: 2010-05-05 12:49
The higher you go, the less vibration you will produce/feel.
The key to producing as full a sound as possible is to ensure that you are blowing as quick, unobstucted and focused a stream of air as possible AT ALL TIMES (with subtle variations for volume, etc of course).
The long tones are really an exercise to get you on that path.
..................Paul Aviles
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Author: Ed Palanker
Date: 2010-05-05 15:18
I agree with Paul. Playing with a good embouchure and an unobstructed and focused air stream is the secret to getting a desirable tone in the upper register. Not pinching, not blocking the air stream with your tongue and not tightening, closing off your throat, while using good air support. Having a good reed helps of course with the type of mouthpiece that fits the player. Remember, that applies to all the registers of the clarinet. I don't think hollow is a good description either, how about warm, rich, mellow or full instead. ESP http://eddiesclarinet.com
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Author: karlbonner82
Date: 2010-05-06 09:13
Okay, I'll refer to the tone quality as "full" instead of hollow.
It seems that on the long tone exercises, my embouchure is firm but not "pinching." There's plenty of tension in the muscles but it's applied around the sides every bit as much as from top to bottom, perhaps even a bit more on the side.
I recall in the old days that I was able to get slightly better tone with a little pinch, but that was probably only because my non-pinching embouchure was loose all around. Actually I think this is true of a lot of beginning and intermediate students - they haven't yet learned how to apply the kind of circular tension needed for good tone and as a result the high notes sound buzzy (a bit kazoo-like) while the throat notes are fuzzy.
In my high school band, very few clarinetists seemed to take the avocation too seriously. Most of them used 2 or 2.5 Rico reeds (seriously!) and they never got anywhere close to a full sound even in the upper chalumeau, let alone the clarion. But I'd imagine that at other schools, the better musicians were able to get a fairly mature tone color.
I've made a solemn vow that I'm going to insist upon developing a really good, professional timbre.
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Author: srattle
Date: 2010-05-06 13:45
A lot also has to do with what's inside your mouth. It could be, that in an effort to voice the higher notes, you are shutting off the air with the back/middle of your tongue which can make the sound pinched.
For me personally, everything seems to fit into a system. I find it very difficult to drastically alter one element without throwing the system into a different path. I find that if I play with more bite, I have the tendency to drop my tongue down too low (maybe to compensate for the pinching sound).
On the otherside, though, I find that if I have my tongue in a position that can focus the air the way I want it, I can use MUCH less pressure with my embouchure, and just let it cushion the reed.
Basically, although one thing can seem obvious, there may be many other things going on that are less obvious, and therefore seeing that your embouchure is applying even pressure, doesn't necessarily fix the problem.
One thing I would advise you (if I am anyone to advise anything at all) is that you should continue working on your embouchure, but also work on your air, and how you use your air. Keep working on anything that you feel necessary, but don't forget to think of your body (specifically the flow of air) as a single motion.
That's at least my opinion.
Sacha
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