 The Clarinet BBoard
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Author: Jerry
Date: 2004-01-02 16:45
I have a too frequent problem, very reed dependant (3.5 V-12 or RICO Grand Concert - but I haven't figured any reed correlation - mouthpiece: 5RV Lyre), where my intended high E lands on high A above it. And sometimes F landing on a similarly higher interval.
One thing I do that minimizes this problem is to straighten (extend) out my horn from my normal down position when I approach those higher notes. Is this an appropriate thing to do, or should I address other issues, such as tightness of embouchure, intensity of airstream, thinking "eeeee" instead of "aaaaah" (or vice versa), etc.
Jerry
The Villages, FL
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Author: sfalexi
Date: 2004-01-02 16:50
My guess is you're lip is too far down on the reed. When you put the clarinet at a straighter angle, your lower lip rises up away from the butt of the reed. If you practice, you can control overtones with just your lower lip rather than the register key. Play a Chalemeau D, then stick your lower lip down a bit and with a little more pressure it'll turn into an A.
Which reminds me, make sure you're not using too much lip pressure and/or not enough airflow.
Alexi
US Army Japan Band
Post Edited (2004-01-02 16:51)
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Author: EEBaum
Date: 2004-01-02 20:36
Your mouth probably doesn't have a solid feel of the interval.
Try this... Play the E, then the A, then E, then A, 10 times each in succession. Do this with the altissimo from C#6 to F6 or so. A few weeks of practice should find you landing better on them.
-Alex
www.mostlydifferent.com
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Author: John Scorgie
Date: 2004-01-02 20:41
Jerry --
I have good new and bad news for you.
The bad news is something you already know, which is that you are sounding an alt. A when you wish to sound an alt. E.
The good news is that your embouchure / airstream etc. is sufficiently developed that you are able to produce the alt. A, which is fingered the same as the E just below it.
Welcome to the world of overtones.
The overtone series you are working with starts with (written, not concert) middle C; then G a 12th above; then E above that; then your unwanted A.
To get a feel for that overtone series, finger and play middle C, then experiment with adjusting your lips / jaw / oral cavity shape / airstream to play (without using the register key and without changing your fingering) G on top of the staff, then alt. E then alt. A.
With a little practice you will be able to play these notes (C G E A) as an arpeggio both up and down, all without using the register key. You will then be able to sense and apply the necessary physical adjustments between alt. E and alt. A above it.
In a similar manner, your alt. F is jumping to the A# above it, which is the next note in that particular overtone series.
The higher pitches in an overtone series which are obtainable without fingering adjustments will diverge from overtone theory (they will be way flat) for reasons we can explore another day.
There are several overtone study books on the market. Most of them are written for saxophone, since playing altissimo on sax is dependent on manipulation of the overtone series.
The book I have used is an old edition of Top Tones for Saxophone by Sigurd Rascher. It was (and maybe still is) published by Carl Fisher in New York and probably costs $10 or $15 by now.
Although the principles Rascher sets down for saxophone are equally applicable to the clarinet, the clarinet overtone series is different from the saxophone overtone series, so that you will need to get out your music paper and adapt some of the exercies for clarinet.
While us older folks have used the Rascher book, maybe some of the younger players posting on this board can suggest other more modern overtone books. Rascher's book is the original work in this area, but his textual explanations are sometimes rather cryptic.
Let us know how you are doing.
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Author: LeOpus1190s
Date: 2004-01-02 20:58
I agree somewhat with what is said. First, make sure your emboucher is firm and consistent. You shouldn't really have to change it much if any at all. EEee especially in the high register with give the notes in the high range a shrillness. The german U is a good one. As far as the jumping to the higher partials isn't not as much as tightening that is doing it. It is the where your lower lip is on the reed. You should always have your clarinet in the stationary position as you would play middle C. From this, you would notice especially with these notes if you were move your lip up a bit, you would get the "grunt" and likewise if you were to lower your lip quite a bit you would get the upper partials instead of the note you are aiming for. Experement between these both extremes and find somehwere that it would be consistant for you to get the upper notes out and not overblow your notes.
hopes this helps. It did when my teacher was helping me with my shostakovich 9 excerpts.
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Author: D Dow
Date: 2004-01-02 21:02
There is sometimes a simple concept of going "whoo" to "hee" which allows the correct voicing for the altissimo jump going upward which allows for a more ease in getting the corresponding tones you are having trouble with....
As to getting bogged down in technical discussion the key is finding a technique that is simple and gives the player the freedom to play easily...
Avoid complex explanations for an otherwise simple element of playing any instrument...
Playing without the register is a good practice as mentioned by John but only in the practice room. Remember the clarinet tends to play flat in the altissimo and the venting from the register key is a god-send.....
Geoffrey Rendell in his book "the Clarinet" has a superb explanation of the overtone series of the clarinet....worth looking up!
Keith Stein has good advice as well in his book "The Art of Clarinet Playing" 1958
David Dow
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