 The Clarinet BBoard
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Author: Jeff Forman
Date: 2003-02-07 22:46
I have a problem with a "breathy" sound when I start certain phrases. I am working on the Adagio of the Mozart Concerto (just because I like it!) and at the start of what is called the A section in my Simeon Bellison 1948 sheet music (top of page 9 for those who have it), where the it starts with A-G-F-E-D, Bb-A-G-F-E, C-Bb-A-G, etc. The first A, then the first Bb, then the first C come out in what I am calling "breathy". What I mean by that is that I don't get the clean, crisp note right out of the blocks. Instead, I hear breath until I seem to have enough power to vibrate the reed. Sometimes it almost a spitting or throaty grunting sound before the note starts. Once the note starts, though, it and the rest of the notes are clean.
I have tried tightening my embouchure, loosening my embouchure, sneaking the air out, forcing the air out and everything I can think of to get those notes to start when I do.
This happens on the opening C of the Adagio, but not as badly. It doesn't happen on chalumeau register starting notes.
Any ideas for exercises or techniques to get those first clarion notes to be clean?
Thanks.
Jeff
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Author: ann
Date: 2003-02-08 00:14
Are you tonguing the first note of these phrases? When you start the first note, don't think about attacking the beginning, or sneaking in to it. Start with your tongue on the tip of the reed, then (if your embouchure is all set, you have good breath support, and your throat is relaxed) you'll be able to "release" a crisp, clear tone every time.
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Author: Jeff Forman
Date: 2003-02-08 01:50
Gee, Ann, I never thought of that approach. I'll try working on that and let you know. Thanks.
Jeff
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Author: Jeff Forman
Date: 2003-02-08 02:17
Well......if that is the answer, it's gonna take a lot of work. It sounds like a moose call now as the note starts. There's still a delay between exhale and note. Argggggghhhh!!!!
J.
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Author: ann
Date: 2003-02-08 02:47
Hmmmm....this way usually works for me, but then again, I did have to do a lot of experimenting to find just the right touch (or maybe I should say "tongue-release") before it started to make any difference. Good luck to you! Maybe someone else will have another idea...
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Author: Signe
Date: 2003-02-08 03:22
If you're doing everything right, and it still isn't working, try some other types of mouthpieces. If you have played for a while, try a VanDoren B45, or for something for the less developed embouchure, the 5LY, I think it is. Also, the student mouthpiece that comes with an entry level Buffet is real good, and easy to control. The Selmer HS* is a definite squeaker. I'm sure others have some ideas about this. Signe
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Author: GBK
Date: 2003-02-08 03:35
Signe said: "... Also, the student mouthpiece that comes with an entry level Buffet is real good, and easy to control...."
Are you referring to that mouthpiece shaped object which is used as a space filler in the Buffet case?...GBK
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Author: Rene
Date: 2003-02-08 14:38
From my own bad experience that will go away with time, IF you make sure, you do not try to start the tone with the throat (by saying something like a "khhh"). Try to reduce the noises of the tongue on the reed by and by, and do not get frustrated.
Rene
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Author: William
Date: 2003-02-08 15:13
For clean attacks, Stan Hasty says he often started blowing quiet air through the mpc before actally enunciating the sound. The example he cited was the opening note of Weber's, "Concertino", where he would start blowing quiet air a couple of beats before the note actually begins to help generate a clean, soft attack. Try it--it works!!!
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Author: Brad
Date: 2003-02-08 22:52
Some good advice is to get everything ready, I mean, put your fingers down on the note well before you play it. Also, don't take all of your fingers off after the end of the phrase--this is a waste of energy! You have enough time in this peace to do that. Second thing is to have your breath support ready from the stomach! If you have the necessary support, the note will speak right away. Don't worry about fooling with your embouchure--as long as the air is there, the note will usually come out. Also, for the Mozart..remember to make a slight crescendo into the note with the phrase, I don't think people usually start it too crisply. Good luck!
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Author: Jeff Forman
Date: 2003-02-09 02:26
Thanks for this wonderful advice. Williams's post about blowing quiet air is the one that has worked so far. Of course, focusing on that makes me forget what notes I'm playing next, so I guess I have to practice the technique so that it becomes the automatic part. I learned many years ago in high school as a pole vaulter that you can only concentrate on one thing at a time, and you have to develop the other things as automatic. (In pole vaulting, when you plant the pole to take off, the right hand pulls down while the left hand pushes up. Try concentrating on pushing at the same time as you are thinking about pulling and you'll see what I mean. You will have neither a long nor successful career in pole vaulting)
So I learned last night that the note sequences need to be automatic (or at least I need to trust that my hands will do the right sequences) for a new breath technique to be the focus. If not, then the notes will be clear, but it won't be k622.
As far as Brad's comments, I saw a guy play the Mozart last year with the Annapolis Symphony (can't remember his name), but it looked like his hands never moved.
Once again, thanks to all who responded. That's what makes this board so great.
Jeff
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