 The Clarinet BBoard
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Author: Keith Ferguson
Date: 2005-12-15 17:46
I've done a search but did not find anything dealing with the following problem. I've just come through a three month layoff and I'm trying to put the pieces back together. At the time I had to stop playing, I was at an advanced intermediate level. I play R13s (Bb and A) with a Vandoren M13 mouthpiece and Vandoren Black Masters #3 or Vandoren Blue Box #3 1/2 or Mitchell Lurie #4 1/2, all of which I find to be of similar strength.
The problem is that I'm getting a whistling sound when playing in the range from G6 to C7 instead of the note. I've tried re-forming my embouchure before trying the notes, adjusting the amount of mouthpiece I take into my mouth, watching breath support and finger position, and being conscious about not biting, but none of those efforts are producing any improvement. The problem is at its worst with the Black Master reeds, and best with the Mitchell Luries.
Any suggestions would be much appreciated. Thanks.
Keith
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Author: Chris P
Date: 2005-12-15 18:11
Sounds like it could be caused by a leak along the side rails (towards the thicker part of the reed) - put the reed on and look through the tip opening in good light, and look along the side rails to see if any light shines through between the reed and side rails near the base of the scrape and past the lay but before the bottom of the window.
I sometimes get a high pitched 'whistle' in the altissimo if my chops are getting tired as well, and I start trying too hard to get the notes out.
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Author: bass9396
Date: 2005-12-16 13:25
It may be that you are not trying hard enough....with your lip. This practice is more common on Bass Clarinet, but keenly applied pressure to the reed may produce a different result. I do this to a small degree on Soprano Clarinet and sometimes it helps. This may also be helpful to you.
Also, it may be your ligature. Some ligatures respond in the altissimo differently than others. I play on old Harison ligs and they pop in the altissimo, one more than the other, but they do the job.
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Author: ken
Date: 2005-12-17 13:33
A couple areas to take a closer look at: if you didn't experience this issue before your lay-off and still on the same set-up your horn may have developed a leak in the upper joint from sitting idle. The pad/cup directly under the front teardrop key, register key and vent tube are notorious for becoming misaligned, spongy or clogged. Assuming, you have a daily warm-up routine I would continue checking equipment issues, i.e., instrument mechanics, ligatures, reeds and even mpcs. If not, perhaps introducing a regiment of long tones may strengthen your embouchure and eliminate the whistling. It may also be an easily resolved breath support fix, alone or combined with embouchure set.
Process of elimination: First, play another horn in good repair using your mpc AND barrel. If the whistling persists it could be chops. Some BBoard posters are not advocates of long tones. I hold a more traditional perspective (along with working out technical passages slowly and evenly) ... particularly when off the horn for extended periods (my definition of extended is: 30+ days for advanced player, 15+ for intermediate, and 7+ for beginner.)
Long tones exercise: Using tuner and metronome, set the tuner to manual and metronome at 1/4=60. As the 4th octave is the targeted area you will play an up/down chromatic scale from C6 to G6. Prepare by assuming a proper sop clar posture; standing erect but relaxed, knees unlocked or seated on chair edge, spine perpendicular and both feet flat on the floor with horn angle at a relative but comfortable 45-degree angle (not resting on knee.) Take a deep, correctly-executed "musical" breath (association: you're filling your feet full of air.) That is, a musical breath fills and fully extends the lower stomach inside out and pushes air upward from the belly (association: breathing behind the lungs blowing up the belly like a balloon.) In contrast, a "natural" breathe starts from the chest or throat inflating the chest upward/outward (association: a gorilla jutting out his chest before pounding it.) Always "maintaining the same tempo," play each note at mezzo forte (mf) for four counts breathing every four notes for four counts (this forces you to exhale for 16 seconds in one breath.) Simultaneously, watching the tuner ensuring pitch is consistently zeroed out or within 2 cents sharp/flat.
I recommend not venturing higher then the G6 as you may eliminate the whistling and restore a full sounding, in tune note without over-exerting yourself. If literature and playing situation necessitates the extreme altissimo, you can extend the exercise two notes per week, per sitting through the double C. Or, if not a playing priority bag anything over a G6 until the problem is corrected.
Initially, the exercise will be physically strenuous. Do not force yourself to play beyond reasonable discomfort or to the point of cramping, however, to prove beneficial the sequence once begun MUST be completed as if in a performance setting. Resting is fine, but keep counting and jump back in at the next note (don't start over again on the note left off --- 8 notes and 32 seconds up, 8 notes and 32 seconds down maintaining mf range.)
Incorporate this exercise for 2 weeks or for 14 practice sessions, if the whistling persists, or notes refuse to firm-up you may consider dropping down to the clarion and chalumeau registers for awhile, altogether. Yes, this exercise is tedious and can be audibly painful (to the entire household, neighbors and every cat in town,) you may opt for wearing ear plugs. Luck! v/r ken
Post Edited (2005-12-17 13:36)
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Author: Keith Ferguson
Date: 2005-12-19 16:34
Chris P, Bass9396 and ken: Thanks to each of you for taking the time and effort to analyze my problem and provide your thoughts. The suggestions are valuable and I now have a focus for solving the problem. By the way ken, I find long note exercises to be very worthwhile, and concentrating in the range you suggest is a great idea!
Thanks again,
Keith Ferguson
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