 The Clarinet BBoard
|
Author: scoonba
Date: 2003-08-06 01:12
Hello everyone. I am a sophmore in high school and I am currently playing on a Leblanc concerto. I plan on keeping this one until college. Is there any advice/add-ons I should get for a better playing expirience?
I also have problems hitting very high notes (ex. F G A ect. above the staff) Is there anything I can do to fix that?
|
|
Reply To Message
|
|
Author: Dee
Date: 2003-08-06 03:48
Yes, take lessons with a good private teacher.
|
|
Reply To Message
|
|
Author: theclarinetist
Date: 2003-08-06 04:44
As far as add ons, I don't really know of anything (other than the best possible mouthpiece and ligature and reeds that work for you).
As far as high notes, register slurs always helped me... As Dee said, I would consult a good teacher about the specifics and more personalized guidance. Also you can try long tones on high notes... It gives you a good chance to experiment with your air and voicing, etc. This isn't particularly helpful, but I think every person is different and you have to find what works best for you (but a knowledgable teacher will be able to point you in the right direction).
|
|
Reply To Message
|
|
Author: Rick Williams
Date: 2003-08-06 13:17
Ditto the teacher comments, but here's a few ideas in the mean time.
When you talk about very high notes "F,G,A" are you meaning the F that begins on the staff to the A that is one ledger line above the staff or the F,G,A that is an Octave above that? I'm assuming since your a soph. that it's the lower clarion notes your meaning. If I'm wrong, sorry about the following.
First check the clarinet for leaks. Little leaks and mechanical issues seem to cause bigger problems the higher the note.
When looking to solve a problem approach the issue systematically and make one change at a time. The easiest way to approach higher notes is by playing a slurred scale. Just start at BNat and go up (unless you need practice crossing the bridge...g). Sit, keep you embrouchure steady, lip pressure the same, air velocity the same and play until the notes quit on you. Play it again and this time increase your air velocity as you go higher to help support the note. Any difference? Also, just an idea, try bringing the clarinet in closer to your body on one of the scales and see if that has an effect.
You didn't mention what reed and strength your playing either. If you are playing a soft reed and that is a relative term, it could be closing off preventing you from playing higher notes. Just try a slightly stiffer reed. There are players out there who can play any note and beyond on a clarinet with a wet noodle for a reed, but I think that's the exception. In my own case, which I think is typical, I needed slightly stiffer reeds to support notes as I went higher and higher. But it isn't a case of slapping on a 3.5 from a 2.5 because you won't have the embrouchure to play it. But, if you make small incremental changes, then the embrouchure increases along with it. For reference only, on my Concerto, I can pretty reliably play up to the high C (5 and a half ledger lines above the staff) which is the last official note on the clarinet with a Gonzales 3.5 reed. But, that is my setup and that has virtually no correlation to yours.
Third if your MP is whacky or doesn't suit you, then these problems may continue but before going on the great MP quest, get a teacher! Your problem could be as simple as rubbing the wrong key, not sealing a hole or a hundred other things. The keys on a Concerto a pretty tight and it is real easy to be nudging a key above the note your sounding and that will create all manner of interesting issues and you may not even feel it.
Good luck
RW
|
|
Reply To Message
|
|
Author: William
Date: 2003-08-06 15:33
Keeping it only "until" college/// Why stop there? The Leblanc concerto is already the top line professional instrument that can take you "all the way." You just need to keep practicing and learn how to play it. And that is my "short" advice for those upper register notes. Practice................(ad naseum, if necessary) Eventually--and sooner than you may now think--those notes will be "poppin" right out.
Also, your embouchure probably just needs strengthening. Also, try forming our oral cavity as if producing a cat's hiss. Raise the back of your tongue to do this, and then incorporate it into your clarinet embouchure. It will help to focus and actually accelorate your air stream toward the tip of your mpc/reed setup and should give you better response throughout your playing range, and in particular, those problem high notes. Steady breath support is also advised. Keep practicing, and you will soon be "screeching" with the rest of us.
|
|
Reply To Message
|
|
Author: Synonymous Botch
Date: 2003-08-06 15:38
To echo a few sentiments mentioned above...
If you keep your instrument clean, and in proper repair, it is a gem.
This is a very well executed, modern design that is a joy to play.
It's a WIND instrument, and plenty of air is necessary to reach the topmost range. Get Larry Guy's book on embouchure building... IT WORKS.
If you're playing a particularly open mouthpiece (like a B45) with softer reeds, the top notes are likely to be unstable.
Something in the middle of the road will help you practice hitting the topmost notes reliably. For the short term, try putting a slightly harder version of the same reed on your current mouthpiece.
Post us on your progress, okay?
|
|
Reply To Message
|
|
Author: scoonba
Date: 2003-08-06 20:02
Yes, I am talking about the Higer FGA, I believe in the clarion register (im not sure if thats what it is called)
|
|
Reply To Message
|
|
Author: Clar inet
Date: 2003-08-06 21:55
like most of us who bought concerto's you are going to want to switch once you realize the clarinet doesn't have the flexibility most of us really need to make beautiful music.
|
|
Reply To Message
|
|
Author: sfalexi
Date: 2003-08-07 00:50
Clar inet wrote:
> like most of us who bought concerto's you are going to want to
> switch once you realize the clarinet doesn't have the
> flexibility most of us really need to make beautiful music.
Perhaps instead of switching, you can send it out later to get "Brannenized". I'm thinking that would open up everything that that concerto can do.
Alexi
US Army Japan Band
|
|
Reply To Message
|
|
Author: William
Date: 2003-08-07 07:10
Clar inet wrote--"like most of us who bought concerto's you are going to want to switch once you realize the clarinet doesn't have the flexibility most of us really need to make beautiful music."
I play Concertos and will admit that they are not the same as the ones bought "over the counter" in your local music shoppe. I selected my A & Bb from perhaps a hundred "candidates" at the LeBlanc factory in Kenosha, WI--and I think I got a couple of good ones. The ones that I chose were then "fine tuned" by Tom Ridenour, the (then) LeBlanc accoustician who designed the Opus/Concerto line. During that "tweeking" process, I told him that I had played an Opus that I though was terrible, at our local music outlet. He seemed "concerned" and stated that he wished "he could have worked on that clarinet" because it probably just needed some "professional help" and could be "saved".
Most professional clarinetist playing today, have had their instruments "fine tuned" by someone like TR or the Brannens and you are correct to advise this to let a Concerto be "everything that it can be". But my point is that most clarinets, of all brands and model, need to be adjusted for optimum performance. The natural "top drawer" clarinet, right off the assembly line, is rare indeed.
Finally, I just wantd to clarify that I am happy with the musical expression with which my Concertos play and have no plans to switch to another brand, other than occassionally returning to my Buffet R13s for "variety" (they play good also). And I stand by my advice to Scoonba that his Concerto is already a professional level instrument that--with a little special work (Brannens, maybe), a good teacher and a lot of practice--can most probably take him "all the way"--at least as far as college. By then, maybe someone will design the perfect clarinet, mouthpiece and permanent "good sound" reed, and then we can all stand in line..............
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
