 The Clarinet BBoard
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Author: Hiroshi
Date: 2005-01-22 07:14
If you play blockflote, you may know a technique to make altissimo tones still higher by putting the bell opening on the knee to close nealy half of it. (It is not shown in an ordinary blockflote fingering chart.)
I tried this on my clarinet using my foot since my knee it too near. Yes, it made altissimo notes still higher: nearly squeaks but a scale. Is there any book where this is elaborated? I am interested in why this happens.
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Author: clarinetist04
Date: 2005-01-22 07:56
A lot of it has to do with the harmonic series. I'm sure you and most of us have tried this. Cover the bell with a knee or some other body part and hold down all the notes (i.e. play long E). Now use your embouchure to change the pitch of the note. You will get the harmonic series.
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Author: sfalexi
Date: 2005-01-22 21:18
You may want to look/ask at people who have studied old french horns. I seem to remember that back in the day people used to play french horn without valves and simply used to vary the distance of their fist in the bell in order to get a different pitch.
It seems to me to be a similar concept to that and so you might want to look also at any materials which explain that.
Alexi
US Army Japan Band
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Author: ken
Date: 2005-01-22 21:42
So, is there some valid or worthy musical application producing these sounds or have we been listening to Cat Anderson records again? v/r Ken ![[frown]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie2.gif)
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Author: sfalexi
Date: 2005-01-22 21:48
ken wrote:
> So, is there some valid or worthy musical application producing
> these sounds or have we been listening to Cat Anderson records
> again? v/r Ken
Perhaps SOME might call it worthy. As for myself, even multiphonics/quarter-tones are enough of a stretch. But I guess SOMEONE would use these extreme altissimo's for SOME reason.
Alexi
US Army Japan Band
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Author: Alphie
Date: 2005-01-22 23:35
I remember once playing Mahler 2nd symphony Eb part, a spot in the last movement in the altissimo register together with oboe in octaves. This time intonation was difficult and I felt also a little loud. I borrowed a bassoon mute from a colleague and stack it up the bell of the Eb clarinet. This temporarily solved both problems so I kept it for the concert. Whatever works without doing any damage is fine. I recon the overtones came in a different line so it became easier to find one that fit.
Alphie
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Author: ken
Date: 2005-01-23 18:09
Alexi wrote: "Perhaps SOME might call it worthy. As for myself, even multiphonics/quarter-tones are enough of a stretch. But I guess SOMEONE would use these extreme altissimo's for SOME reason."
"In and among itself" there is NO relevant musical application to these tones of harmonic succession. This form of experimentation and "forced physical" contortion create what can be readily reproduced by the static rubbing of an overly-inflated balloon, or affectionate stroking of a gerbil. It belongs in the category of at the most, innovation, special effect and ornamentation, and in the least, the practice of stuffing cardboard tubes and handkerchiefs into bells to muster an extra half step, key tapping, half-holing, slap-stop, double-triple tonguing, smearing, sound reinforcement, and in charts where horn joints are detached and mpcs are quacked. I can also attest to having students breaking down or destroying months and years of embouchure development horsing around with this crap (as well as hacking 20th-century lit beyond their skill level).
Years ago I performed at Fredonia State College. During set-up, I bumped into two undergrad piano majors noodling on an off-stage Bðsendorfer. They boasted an 8-hour recording of a department 5.4 grand being disassembled piece by piece down to the floor --- they defined the project as "musical, artistic expression". They offered me a complimentary disc, but I replied, "nope, I'd just send it to my old high school wood shop teacher for student training". A left field example but the point is hopefully made.
If it's universally accepted diatonic scales are the building blocks of music, then the original posted statement that these tones were formed "in a scale" is technically an intent, attempt and activity as "music".
Written is written, but in the 35 years I've been improvising and blowing the Dixieland I've only used the extreme 3rd and 4th octaves a dozen times max --- Double Cs sparingly and a triple D maybe twice. ALL were used in structuring ideas to create sensible, musical lines but not a gimmick or means to an end. These extreme "notes" should always have purpose and executed to achieve a full, tonally-centered, in-tune and climactic pitch NOT unidentifiably wimpy squeaks or anemic pinch.
A dogmatic call to conventionalism?? A resounding now, but bad methods and habits produce inferior application and results. Enjoy and have fun, but let us please maintain perspective and keep our eyes on the ball. v/Ken
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Author: jim lande
Date: 2005-01-24 03:09
Extreme altissimo sounds like something with reality TV possibilities.
I don't know if extreme altissimo has musical possibilities or not. When I grew up, the idea that scratching vinyl records would become useful would have seemed absurd. Now vinyl records are hardly used for anything else and the sound shows up all the time in TV commercials. It may not be your taste, but to me, sopranos singing opera are like chalk on the blackboard. Just because I don't like it doesn't mean it ain't music.
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Author: DavidBlumberg
Date: 2005-01-25 00:53
The Opperman Fingering book has quite a range.
link for it coming
Post Edited (2005-01-25 00:54)
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