 The Clarinet BBoard
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Author: Ralph G
Date: 2004-06-22 19:14
(I did an archive search and didn't find anything, but I may not have used the right terms -- point me to past threads of you know of any)
On Jon Manasse's recording of the Copland, during the slow section there's that part that goes from chalumeau D to clarion A (sounds like a half-note D slurred to a long A -- I don't have any sheet music). At first I thought it was just an ultra-smooth seamless application of the register key. But upon listening more closely, for an instant he's playing both the D and the A.
Any advice (or past thread) on how to make that happen? I can't seem to do it without at least a very small noticeable transition between registers. I've listened to other Copland recordings and nobody else I've heard plays it that seamlessly, so JM must have talent to die for.›
________________
Artistic talent is a gift from God and whoever discovers it in himself has a certain obligation: to know that he cannot waste this talent, but must develop it.
- Pope John Paul II
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Author: Tara
Date: 2004-06-22 19:49
I don't know about getting both notes simultaneously, but for the smoothest transition, try putting a small folded piece of paper under the register key (between the wood and the key where your thumb touches). This really helped me with the solo in the Pines of Rome... shortens the vent. But, I'd have to dig out the Copland and look- it won't work if you don't have a spot to take it out (or put it in). You may have already tried all of this.... just a thought!!! I'm sure someone can give you some other options and expertise!
Tara
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Author: Don Poulsen
Date: 2004-06-22 21:51
A search under for "multiphonics" will produce some results. Fingering the first note and changing your embouchure to where you are overblowing (squeaking) the upper note should create the transition. If you control this transition, you can find a balance point where you are playing both notes simultaneously.
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Author: Keil
Date: 2004-06-22 22:11
When playing a clarion A you will find that creating the D is quite easy, it's basically doing everything your teacher has told you not to do, that is allow the undertone to speak. It happens quite naturally. If you practice overblowing the D to A without using the register key you will learn how to control the leap as well as produce the 2 notes.
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Author: Kevin
Date: 2004-06-22 23:21
In Richard Stoltzman's recording of the Abyss of the Birds movement from Messiaen's Quartet with Kavafian/Sherry/Serkin, I also hear some polytones throughout the piece...
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Author: Liquorice
Date: 2004-06-23 06:47
"When playing a clarion A you will find that creating the D is quite easy, it's basically doing everything your teacher has told you not to do, that is allow the undertone to speak."
Incorrect- if you finger clarion A and allow the undertone to speak the note produced will be something aorund an F. This is because you're not fingering D, you're fingering D with the register key added.
I haven't heard the recording, but I suspect that there is an accoustical reverb of the D when the A is played. Otherwaise Mr Manasse is doing something really weird!
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Author: Mark Pinner
Date: 2004-06-23 07:39
Don't mention the Pines of Rome! I havce to play the 1st bassoon part tonight. First 3 notes are F, Bb then high D! Uurrgghh
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Author: Clarinetist
Date: 2004-06-23 09:25
Don Poulsen wrote:
>Fingering the first note and changing your embouchure to where you are overblowing (squeaking) the upper note should create the transition. If you control this transition, you can find a balance point where you are playing both notes simultaneously.
Is it really true that the notes come out completely simultaneously? I have heard just one recording where a guy does some multiphonics in a cadenza.
To me, it doesn´t sound like that the two tones are coming out completely simultaneously, like when playing some string instrument, but more like he changes the tone very quickly to another continually. I´m curious...
Thanks
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Author: Keil
Date: 2004-06-23 21:09
One of my teachers has studied multiphonics extensively. I've been in masterclasses with William O. Smith who is the leading champion of extended techniques for clarinet, ie multiphonics. It is through these teachers i have learned that 1) playing 2 notes simultaneously is possible and 2) when allowing the A to produce the undertone you can in fact produce the low D. It is true that if you start the A and then allow it grunt the underlying note you will in fact produce the throat A, however, if you start from the bottom, playing a D and then lightly add the register key you can in fact produce simultaneously the lower D and the A. It does take work... lots of work but it is possible.
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