 The Clarinet BBoard
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Author: Snoopy
Date: 2000-05-18 16:01
I seem to have problems playing my high E properly. The note doesn't seem to come out as easily as playing high C.I tend to squeak on high E or overpitch to high A.Can someone help me? I tried loosening my embrochure.
Any advice on how to get a nice round tone for notes above high C well? My tone is rather thin on the high notes.How are u able to play the notes above high C with a round centered tone?I am using a Vandoren B45 with size 3.5 reeds.
How are u able to play slow and soft passages on the higher octave without sticking out like a sore thumb?( high E onwards)How can I enter the high notes without sounding harsh?Could it be because I am pressing my tongue to hard on the reed before I release it when playing slow passages?
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Author: Kevin Bowman
Date: 2000-05-18 18:05
First - it sounds like you have a reasonable mpc/reed combo - although I use a 5RVLyre-13 with a #4(V12) reed to get a little better altissimo register tone - but that's just my opinion. You should be able to get good result with what you have.
As far as equipment goes, the only other thing you might want to look at is your ligature. You didn't say what you are using but I have found the "hard" contact lig (as opposed to something soft like a Rovner, etc) gives better response in the upper registers.
Now - other suggestions: You mentioned you tried relaxing the embouchure - I'm assuming you did this to avoid "biting". I suggest simply keeping the embouchure firm - the same firmness used throughout the entire range of the clarinet. Just be careful not to bite when you go higher. Instead, concentrate on focusing the air stream with the back of your tongue (placed high in the back of the mouth - as if saying "Eeee"). Also, consider the upper lip's role in the embouchure - especially as you approach and play in the upper registers. Think about pressing down on the top of the mpc with your upper lip - as if you were using a double lip embouchure. You can still keep your teeth on the mpc, but "support" the upper side of the mpc with your upper lip as well.
Along the lines of focusing the air stream - experiment with "voicing" by trying different tongue positions. The higher notes will be voiced more "forward" in the mouth. Just think about projecting your airstream further forward.
Remember that high notes require more air speed and less volume while low notes require less air speed and more volume.
Last, play long tones to get a good grasp on altissimo tone. Play intervals, starting on Clarion F to Alt. D, F# to D#, G to E, G# to F, and A to F# (don't forget to add the RH Eb key for each leap and don't forget the RH sliver key to bring alt. F# in tune). As you make the transition to the upper note, try to "trick" yourself into thinking you are playing the lower note so that the tones match.
Hope this helps.
Kevin Bowman
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Author: steve
Date: 2000-05-18 19:32
I agree with 100% of everything kevin said, but i'm a bit unclear about one of his statements:
"Remember that high notes require more air speed and less volume while low notes require less air speed and more volume."
kevin, are you referring to air speed as volume-per-unit-time (eg mL/min) at a given pressure (the set-up resistance?) measured at the (defined dimension, area)entrance of the mp (sort of like bow arm pressure on a fiddle)? When you say volume, are you referring to the air cavity defined by the tongue, roof of mouth, etc?, or the volume of air produced in a unit time measurement when air is expelled throuigh the defined opening at a given velocity and pressure?
Your comment brings to mind a mention of "warm air, cold air" dichotomy in the context of producing notes in various registers, that I never understood properly...could you help me? Most of my understanding of register playing came from trial and error, touching my teachers' embrochure, and listening to descriptions of wrong/right when I made subtle changes, but I never fully understood what I was doing...
thanks..
s.
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Author: Kevin Bowman
Date: 2000-05-18 20:06
Steve -
sorry about the confusion. By "volume" I mean air volume, not loudness. And, yes, the warm air/cool air thing comes into play here - that's just another way of explaining the speed/volume control.
Let's see if I can explain this a little better. Consider a garden hose with water flowing through it (and pouring from the open end). If you put your thumb on the open end, you can cause the water to "squirt". It's the same volume of water but by restricting the opening, the water flows at a faster rate (higher speed). You can use your tongue to control the speed of your airstream, just as you would use your thumb to control the "jet" of water from a hose. And not just the back of your tongue - but the middle part as well (the tip should remain fairly free for tonguing, though).
I'm not sure of a good analogy for air volume, but you can control that by simply "pressing" more or less from the diaphragm. "Holding back" air (i.e. not pressing very hard) results in large volume while really pressing the air out results in lower volume. This seems counter-intuitive. To be truthful - I hardly ever think about air volume and concentrate mostly on air speed and "focus".
The combination of large volume and low air speed is "warm air" - like you would steam up a mirror by breathing on it. Little volume and high speed is what you would use to forcefully blow out a candle or shoot a spit-wad from a straw
Lower notes require warm air while higher notes require cooler air (as a general rule of thumb).
My point was, while playing high notes - especially in the altissimo, try holding back on the volume (the loudness too) and focus the air stream so that it has more velocity. Pretend you are trying to get your air stream to go through a small straw through the center of your clarinet. In fact, while playing those interval long tones I recommended, try playing the lower note forte and the upper note piano. This will help with the "overblowing" problem on altissimo E!
Also - a good exercise for practicing voicing (with the tongue) is to try "lip slurs" between alt. E and the A above it (fingered identically). Play the E and move to the A my simply changing the oral cavity (tongue). Think "Ohh" for the E and "eeh" for the A. Be careful not to change the embouchure.
Hope this cleared things up a bit.
Kevin Bowman
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Author: Meri
Date: 2000-05-19 16:58
Assuming you have a decent setup, to play high notes well, one of my conductors once told me to think of maintaining the same tone quality in the altissimo registers as in the lower register. This can be practiced by playing scales that cross the clarion/altissimo break (at the high C), and listening to the tone quality of the notes after crossing this break.
But if you have to enter with a note in this range with no lead-in, then 'think full' to have a good sound quality. You will automatically make the necessary adjustments.
Meri
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Author: ron b.
Date: 2000-05-20 06:46
For what it may be worth, Snoopy;
To the best of my limited knowledge no one has yet died while playing high notes; or, been killed for making a mistake. Many players I've known just 'work' too hard at high notes. As Meri says, 'think full' all the time. If your mind is at ease your body will relax. If you're tense, afraid of those little ol' high notes, your audience will instantly detect it. It's uncanny. Who wants to play to a nervous audience anyway? Have fun making music, don't fret the small stuff and you'll have your audience, and your fellow players, in the palm of your hand.
ron b.
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