 The Clarinet BBoard
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Author: confused
Date: 1999-12-08 00:31
I am a new music teacher who will be teaching a beginning grade 9 band course. I have such a silly question....but here it goes!
What is "the break" on the clarinet? What makes it so difficult for beginning clarinetists? What is the best way to approach it/ teach it in a classroom setting?
Please help!
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Author: Katherine Pincock
Date: 1999-12-08 00:55
The "break" is the point on the clarinet where you go from having all fingers open to having all of them (or many of them) closed. There are actually two breaks on the clarinet, one between third line Bb and B natural, the other between C two ledger lines above the staff and D above that. It's a problem for beginning clarinetists because the resistance is so much greater over the break than under the break, so while it's easy to make notes under the break sound, it's a lot harder over the break. I don't remember how it was taught to me through a classroom setting, so I'll just tell you the usual method. You start by solidifying the notes below the break and the notes above the break, separately, by playing a low note and hitting the register key to get the higher one-so, for example, finger a low F and hit the register key to get a fourth space C. Once notes are fairly secure this way, start by working down across the break, like by doing a scale starting on fourth space C going down an octave. Because the resistance gets weaker, this is the easier way to go. Then, when that's comfortable, work around the break: for example, go from C to B to A to G and then back up. Then, you can get students to do the ascending scale as the final stage. That's how it was taught to me in private lessons, in any case. I hope this helps!
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Author: Jim Carabetta
Date: 1999-12-08 01:01
It's far from silly, "confused", and a difficult area for beginners to master. The "break" consists of the middle B-nat, 3rd space C-nat, and 3rd-space C#, those annoying pinky-swapping tones between registers.
I use the same method illustrated in many begiining method books: 1) teach the fingering; 2) see if the student can get the tone out clearly (or at least acceptably for now); and 3) using the low tones (E, F, F#) below the staff, I have the student flex the register key open and "jump" to the complimentary break tone. Homework for the next lesson is only A-B-C-D-C-B-A. It's the b-nat that always seems to be the most frustrating. Because of the way most method books work, it takes forever to break a beginner of playing Bb each time a B appears.
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Author: J. Butler
Date: 1999-12-08 01:14
I teach band 6-8 (part time) with beginners in predominately in the 6th grade. The low note/high note approach described above is very good. The problem to correct with most students I have found is in the hand postition. Also, if the sound is weak the student may not be getting enough mouthpiece in their mouth. I have students play an open "G" and keep putting in more mouthpiece until they squeak. Then I tell them to back off a little. If the fingers don't cover the rings properly the upper note will not sound. Usually there will be a squeak or with the finger not sealing the air well the student can blow all he/she wants and no sound will be produced. Watch the hand position while the student goes from "A" to "B" and coach when necessary. I use an old time book called "Whitney Freeman Band Reader", Unit VII and VII (I think). It has some marvelous exercises for a full band setting or section rehearsal approach as well. Oddly enough it is still available through Pepper Music Co.
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Author: Dee
Date: 1999-12-08 02:39
I would just add that you should make sure that the student is getting a full, big sound on the chalumeau notes before trying to play the clarion. If the low notes are weak, airy, or stuffy, it is an indication that the student probably is not getting the holes completely covered and it will be very difficult to make the clarion register speak.
Another tip. Don't call it "the break." Call it "the register change." Subconsciously the word "break" may set up a negative mindset while "change" probably won't.
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Author: HIROSHI
Date: 1999-12-08 03:55
1.Check register key elevation. Almost all new clarinets' elevations are too much. It should be below 1.5 mm.
You can read good articles written by pros about this in the archive.
2.Middle break: Si should be emitted with both left and right finger pinkeys on the keys. Left hand pinkey key needs an additional time than shorter ones. Sometimes this jeopadizes smoothness of transition. Right hand pinkey helps it work easier I think.
3.High break: Use (left hand index finger)half tone hole technique. This is not a special technique but an ordinary one. Professional teachers teach this at the early stage. You can also read good articles in the archive about this.
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Author: HIROSHI
Date: 1999-12-08 04:08
1.Check register key elevation. Almost all new clarinets' elevations are too much. It should be below 1.5 mm.
You can read good articles written by pros about this in the archive.
2.Middle break: Si should be emitted with both left and right finger pinkeys on the keys. Left hand pinkey key is very long and needs an additional time than shorter ones. Sometimes this jeopadizes smoothness of transition. Right hand pinkey helps it work easier I think.
3.High break: Use (left hand index finger)half tone hole technique. This is not a special technique but an ordinary one. Professional teachers teach this at the early stage. You can also read good articles in the archive about this.
If you yourself would like to know more, Tom Ridenour's clarinet fingering book has a detailed description about middle and high breaks and also register key elevation. You can buy a copy through Gary Van Cott, a sponser of Sneezy.
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Author: William
Date: 1999-12-08 14:24
I teach my beginning clarinetists to play an F major scale (thumb F down to low F) before the method book does (usually as soon as they learn b natural). As soon as they have reasonalbe success with these notes, have them try to do "skips" upward (ex. low F to C) by adding the register key. For theie first attempt, I usually have them indiviually play a low F and, as they are producing the sound, I add the register key for them. This way, they get the "feel" for the high note right away without worrying about keeping the thumb hole covered. As soon as they can do right hand skips, teach them the fingerings from C to high C (low F to thumb F with register key). You may be supprised at how many of your students will be able to do this quickly although their will always be some who will struggle at first. Be positive and encourage experimentation--never say that "these notes are hard." Let your students play "high notes" a little bit each rehersal until the Band Method Book that you use teaches them "officially" what these high notes look like. Then, the register change problem will be a lot less stressful. Please do not call it the "break." And, please refer to the "register" key, not the "octave" key. Good luck.
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Author: paul
Date: 1999-12-08 14:55
All of the above postings are excellent to teach the technique to young students. Here are some ideas to use to help solve the problem.
Make sure all tone holes are sealed completely and all key pads have the proper clearance to not interfere with the intonation. Each horn may have to be regulated to fix individual problems. Have your students play very long tones (5 to 10 seconds, perhaps more) on a tuning meter to see where there are problems. Hiroshi's point is very well taken, make sure the register key opens up to no more than 1.5 mm. It makes a huge difference in being able to play the higher notes properly. It affects tuning of the common fingering of mid line Bb, but it's worth it in the long run.
Make sure your students add enough air support to make the B speak - they have to "fill up the horn" with air (inflate it) for that note. It's like filling up a balloon. The more you fill it with air, the more resistance you get trying to put more air into it. That's how the B natural note feels to the student. They have to put more air into a full balloon. But, don't them "empty" (deflate) the horn for the Bb, either.
As your students go up in pitch, tell them to add air support. It's a function of volume and control. At first, let the young student play the note with lots of volume (not so much that it will blast your ears off, say no more than ff level), then teach the idea of control starting the note at pp, a gradual rise to f, and then gradually down to pp again for each note played, starting with very low chalemeau E, all the way up as far as they can go comfortably. Don't let the student produce an "airy" sound with lots of reed but not enough air. This is an excellent primary warm-up drill and a great volume control instruction drill. Note that I didn't mention crossing the registers here, because I agree that the stigma of calling it a "break" brings up negative thoughts of deep chasms and impossible distances.
Here is a trick to help kids with the Bb to B fingering challenge. If they are playing notes in the throat area of the clarinet (totally open fingering mid line G, mid line G#, mid line A, mid line Bb), tell them that it's okay to cover the entire lower joint for extra stability and to help them get a leg up on any upcoming clarion register notes. That makes the transition from Bb to B much quicker and smoother. Have your students use this trick to help them do a slow "trill" drill using the popular Bb and B fingerings, all with the left hand (the right hand and fingers are already in position). Bb to B to Bb to B, etc. Take it nice and slow at first to build up accuracy. There is a much easier Bb to B trill fingering strategy using the side trill keys, but that's not the point here.
Most of all, patience and daily practice are key to getting this skill developed. It's well worth the effort.
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Author: Don Berger
Date: 1999-12-08 16:27
What an excellent discussion and great teaching advice, I am going to copy it all and suggest others do so, will it be searchable, Mark? Re: the low E/B keys, when I check out their pad-tightness on an overhaul, I use the left hand key to ascertain proper adjustment, not the right which usually "falls in line". The mid staff B is my criterion for a good-playing clar. Our pro repairpersons, please add to my semi-skilled methods. Don
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Author: Mark Charette
Date: 1999-12-08 16:53
Don Berger wrote:
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What an excellent discussion and great teaching advice, I am going to copy it all and suggest others do so, will it be searchable, Mark?
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Don - <B>EVERYTHING</B> posted on the BBoard is searchable via the Search button on the top BBoard menu [goto top] and then [search]. It's searchable immediately - no "post processing" step.
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Author: HIROSHI
Date: 1999-12-09 01:26
They anyway try anything by themselves. Grown ups tend to depend on written words but they rely on their own judgement. So, I feel telling may be better than teaching.
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Author: Ginger Martin
Date: 1999-12-09 02:14
When I was young, (many, many moons ago!)my teacher lifted one strand of hair right off of the crown of my head, tugged it just enough so that I could feel it, and told me to play the note out of the top of my head through that hair. I know it sounds a bit strange, but I think it worked because of the opening of the back of the throat.
I still find it works...and besides my students all laugh at the suggestion, so they're having fun, too.
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Author: Bart
Date: 1999-12-09 16:08
Katherine Pincock wrote:
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There are actually two breaks on the clarinet, one between third line Bb and B natural, the other between C two ledger lines above the staff and D above that.
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It is this second break that still gives me some trouble.
Most of the time I have no problems playing a smooth legato going up and down across this break. But when I play with others, I usually tongue when going down, thus avoiding the risk of ´blowing´ it (producing embarrassing squeeks), which also happens at times, much to my regret.
My practice to improve this includes regular playing of scales, scales in thirds and arpeggios. I know that investing some extra time would help me, but I would also appreciate other advice on effective/efficient practice that increases my confidence playing across this second break.
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Author: paul
Date: 1999-12-09 16:27
Bart:
As far as I can tell, you have the basic idea of how to tackle the problem. I too do the scales and arpeggios (Hite's edition of Baermann III to be exact). My technique for crossing the second register up and down is gradually getting better. I also believe that you are correct in saying that it's very hard to come down to the clarion register from the altissimo register in legato without continuing to speak out notes in the altissimo. This problem has to be slowly worked out, using the same scale and arpeggio drills, especially in ever widening gaps between the notes (i.e. thirds up/down, ditto for fourths, fifths, sixths, and octaves). Like my pro tutor likes to say "you have to pound this mountain into a fine powder". Work on it every day at a very slow speed until it gets smooth, then gradually build up the speed never sacrificing smoothness. That's why I've been stuck in the middle of Baermann III for the last few years and I probably will be for years to come. I practice these drills very slowly for 30 minutes during each of my 1 hour practice sessions. It's that important for me to gradually earn my stripes from adult novice to adult intermediate.
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Author: Ginny
Date: 1999-12-11 23:33
I think a well adjusted instrument makes the most difference.
I found two things helped me learn the break during my year of returning to clarinet: The advice somewhere on sneezy to get the left index finger down in advance of the others - this helped some but - getting a decent well adjusted clarinet really took the work out.
My son started clarinet in May and the break was not as easy as the other notes, for about a month. He has no problems now (6 months), even into the third register. He has a well adjusted Vito.
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