 The Clarinet BBoard
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Author: wjk
Date: 2003-03-22 16:44
I'm unhappy with the throat tones (particularly A and Bb) with virtually every clarinet and mouthpiece/barrel combination I have tried. Can it be my embouchure?Should I emphasize resonance fingerings?
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Author: Joel Clifton
Date: 2003-03-22 18:31
I don't think there is a person on Earth who is happy with the sound of their throat tones. Don't worry too much about it.
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Author: leonardA
Date: 2003-03-22 19:12
My teacher says to give it a little extra air and support for the throat tones, and I fine that this helps.
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Author: Melissa
Date: 2003-03-22 20:18
I was told when you play the throat tones you are supposed to hold down the last three holes (leave the first three open, sort of like you are playing d without the first three keys) while still hitting the throat tone keys. It makes a huge different in the tone, for me at least. I hope that helped.
Melissa
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Author: GBK
Date: 2003-03-22 20:43
wjk...Use some of the resonance fingerings that I showed you in your lesson. If you forgot, here are some of the ones that I prefer with the R-13:
Ab: Ab key oox / xoo
A: A key oox / xxo C(F) or A key oxx / ooo B(E)
Bb: R + A key oox / oox C(F)
There are many other combinations and possibilities (using the same principles) . Experiment to see which work the best with your set-up...GBK
Post Edited (2003-03-22 22:33)
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Author: William
Date: 2003-03-22 21:50
For "those" notes, I use:
Ab/G# Ab OOX/XOO
A A OXX/OOO lh B/E key (all fingering action in the left hand)
Bb/A# A+R OXX/OOO lh B/E key or
A OXX/OOO + #2 rh side trill key (in tune on my A clarinet)
(Buffet R13 clarinets, BTW)
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Author: Stéphane
Date: 2003-03-22 23:36
Melissa,
Closing the 3 holes of the bottom joint can be a good idea only if your throat notes are a bit sharp, as doing so will also flatten them. The problem is, if your throat notes are already flat (as is the case on my Selmer), this can be a problem when playing with others.
Stéphane.
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Author: Wes
Date: 2003-03-23 00:00
If the throat tones are really bad, one can get an expert tuner to fix them. Sometimes, the key heights are not proper and the hole sizes can also be too big or too small. If you play with the barrell pulled out a lot, these notes are flattened too much.
It is preferable not to have to use the alternate fingerings. Many clarinets do not have problems in this area. Good luck!
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Author: sfalexi
Date: 2003-03-23 01:12
Anyone have any luck with that Bb throat tone adjustment or whatever that's sold seperately? It's advertised from one of our sneezy sponsors. It's supposed to be a replacement tube or something that gives a better Bb in R-13s. I'm wondering if it's designed JUST for R-13s and also how well it works. Thanks.
Alexi
US Army Japan Band
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Author: jim S.
Date: 2003-03-23 03:10
Relaxing your embouchure a lot and giving a lot of breath support can give a big boost to the Bb. On my R13, using the c#/g# key along with 2 and 3 of the left hand and 5 and 6 of the right, along with the C#/F# key of the right hand gives a very nice and in-tune Bb. Granted, that is just my embouchure, my mouthpiece and my clarinet. But experiment, you may find a perfect recipe
.
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Author: Dee
Date: 2003-03-23 12:06
Also the throat tones are not only seriously affected by slight variations in pad height but also the slightest, even invisible, build up of dirt in the tone holes. Often cleaning out the register key tonehole, even if it appears clean, makes a noticeable difference on the Bb for example.
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Author: allencole
Date: 2003-03-23 13:03
I for one can say that I AM happy with my throat tones, although my R13 has an extremely stuffy throat B-flat and low C#.
The solution for B-flat has been to adopt the side-key B-flat as my primary fingering for that note whenever possible. This is easier for some people than for others, but that's how I was taught as a teenager and it's worked well for me.
Resonance fingerings are so beneficial on B-flat and A that I consider them indispensible. They are not a pain once you get used to them. In fact, they provide additional stability when you're jumping back and forth across the break.
But the best thing I ever did for my throat tones was to get a Portnoy mouthpiece. The throat register is one of its best areas. However, it may not be up to snuff with a Pyne in some other areas. One of my students developed an extraordinarily good tone recently, and I found that her uncle had lent her a Portnoy. Some other people whose throat registers impress me appear to be using Pynes and Gigliottis.
Flexibility is also a great help. I have far better throat tones using #4 reeds than I ever did using #5's.
Any of these items may be helpful in improving throat tones, but the caveat is that every adjustment you make is a compromise. What brings improvement in one area may have negative effects in other areas.
Allen Cole
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Author: ginny
Date: 2003-03-23 16:44
I don't know about others, but I have found that those notes are more sensitive to having a hard reed. If my reed is on the hard side those notes sound very stuffy.
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Author: Synonymous Botch
Date: 2003-03-23 17:35
Been here, still have the tee-shirt...
During my scale drills (you DO practice scales, doncha?), I'm exhorted to equalize the output of the horn... throat tones require a great deal more
'oomph' to speak with the same clarity on my horn.
I wouldna change my embouchure position... nice to have some things constant during play.
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