 The Clarinet BBoard
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Author: Detru Cofidin
Date: 2006-11-25 05:00
I thought I'd start a topic that gives people a chance to share some simple ways of enhancing clarinet playing, or perhaps, making it easier. I know that it might be a bad idea to go and try all of them (and maybe some shouldn't even be posted), and I wouldn't try to change anything unless you are completely comfortable with doing it yourself, as some of us are better mechanics than others.
Now, I know there are a lot of myths out there, so if you post anything, make sure it has made somewhat of a beneficial difference for you, otherwise, people might get angry because "So&s=So said I should soak my clarinet in this to make the sound better, or whatnot."
Anyways, a couple of things that have helped me:
1) Of course, most people have heard of the old beveling of the register key pad trick to "help create less air resistance for the register hole. I've done this and I've not noticed a great difference in the sound BUT something that has helped my sound greatly: \/ \/ \/
2) Thickening the cork on the register key that touches the body down by the thumb. This cork permits how far the register key opens, and I noticed on my R13 that when the key doesn't open so far, my sound is much more homo genius in the upper registers, along with being more responsive. I think most clarinets could probably benefit with this tweak, but I'm not sure. Just slip a piece of thick paper under that key to see what it sounds like.
That's all I got, so far...
Nicholas Arend
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Author: Bob Phillips
Date: 2006-11-25 06:11
Reducing the register key opening helped my R13, too.
Aligning the upper and lower joints to make sure that the bridge key closes the "bis key" pad (between the first and middle finger on the upper joint) just right. My earlier R16-1/2 was very, very touchy because the bridge mechanism also closes the articulated G# pad. My new(er) R13 has the bridge connection widened to allow me to adjust the amount of motion transferred across the joint.
Make sure that the "bis key" closes, but doesn't hold up the first pad on the lower joint --the one that moves with the finger rings.
Bob Phillips
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Author: bob49t
Date: 2006-11-25 06:53
3 things.
1) For my right arm "tennis elbow" (RSI) I added Ton Kooiman thumbrests to both my Bb and A. Huge benefit for painfree playing.
2) I got an ATG kit and this revolutionised my reed management. I won't have to buy any reeds for years (except for experimental purposes.) I'm sure one doesn't need the ATG kit as the elements can all be found in the local hardware store, but the way to use it is the crux. This system applies to all my clar sizes from Eb to Bass and to my sax sizes sop to tenor and is so easy in it's concept.
3) made contact with Walter Grabner .
Sounds like a composite advert (I have no ad retainer), but you did ask !
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Author: Ken Shaw ★2017
Date: 2006-11-25 13:14
1. Go to a repair shop and have all the pads seated perfectly. Have them set the crow's foot so the low F and E pads are perfectly aligned. Ditto for the bridge key.
2. Take off the register key and clean out the crud in the vent tube with a damp pipe cleaner.
3. Set the opening of the register key so a nickel will just fit under it.
4. From François Kloc: The pad for the left little finger C#/G# key is almost always set too close to the hole. Play low G and press the key (so you get the "long" high F, without the register key). Bend the key up a little at a time until you get a multiphonic. Do the same beginning on low F#, G, G# and A.
5. If the reed is not responding well, turn it over and look for any impression of the mouthpiece window on it. If you see it, or can feel it, put the reed on a piece of sandpaper, press down on the bark and sand it flat.
6. Sand down the sides of the reed so it's a tiny bit (0.1 mm. or less) narrower than the mouthpiece tip. Hold the reed on the mouthpiece with your thumb and move it from side to side in microscopic increments. You'll find one spot where the resonance blooms.
7. Tighten up the ligature all the way, and then back off the screw(s) 1/4 turn.
8. Revive a dying reed for a day or two by cutting 1/8" off the butt end with a coping saw, or shaving a slice off the bottom in the same area.
Ken Shaw
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Author: hans
Date: 2006-11-25 15:36
If you use a plastic reed, wet the entire back to improve the seal on the mouthpiece.
Hans
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Author: stevensfo
Date: 2006-11-25 20:42
-- "If you see it, or can feel it, put the reed on a piece of sandpaper, press down on the bark and sand it flat." --
I do this anyway, everytime I take a new reed out the box.
How can anyone expect a piece of thin wood to remain perfectly flat over months/years of storage.
Steve
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Author: Don Berger
Date: 2006-11-25 21:11
Well said, StFo. I "back-sand" every new reed before soaking-playtrying, and, if starting with "too-soft" reeds, consider tip-trimming to "harden" to play-satisfaction. Back to "Simple Tweaks", Ken's suggestions are great, I do most, and do wet the mp before careful reed-location. Having "retiree-time", I play, doodle, run scales-arpegg's, looking for speaking-difficulties, fuzzy sounds, etc, which may require key-pad adjustments to improve. I enjoy the challenges, Don
Thanx, Mark, Don
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Author: skygardener
Date: 2006-11-26 12:54
Many of us have a slightly difficult time producing the notes from high G to C (above the staff). As my teacher said I used a bit more focused voicing and it helped, BUT...
I found reducing the bore of the top joint helps even more and the response is much easier. I cut a plastic transperency (thin, hard, springy plastic sheet) about 1cmx 5cm, curled it up and put it in the bottom- the springy-ness it has will push out to the bore wall.
the down side is you have to remove it before you swab.
I wonder how to make it permenent ... ? Any ideas?
-S
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Author: Detru Cofidin
Date: 2006-11-26 15:18
Polyurethane....hahaha, nah never mind, that might end up to be a disaster.
Nicholas Arend
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Author: Ken Shaw ★2017
Date: 2006-11-26 15:50
Skygardener -
Let me make sure I understand exactly what you did. You curled up the strip and inserted it in the very bottom of the upper joint, inside the tenon and below the C#/G# hole, correct?
Did you trim the length of the strip so that the two ends butted up against one another, matching the circumference of the bore?
In addition to improving the high altissimo, did it have any other effects, e.g., on tone, intonation, or response of any other notes?
Did your teacher suggest this, or did you read about it? Or did you simply try it to see what it would do?
On keeping it in place, the This-to-That site gives several suggestions. http://www.thistothat.com/cgi-bin/glue.cgi?lang=en&this=Plastic&that=Wood It also suggests that you roughen up the slick plastic surface.
The glue needs to be waterproof. I've used their first suggestion, Household Goop, on other stuff and have found that it's not waterproof. On the other hand, epoxy would be difficult to remove, and instrument repair people have told me that contact cement is next to impossible to remove -- even more difficult than epoxy.
Ken Shaw
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Author: Bob Phillips
Date: 2006-11-26 17:14
Get a mouthpiece that allows you to play confidently --without worrying whether that next note will speak clearly. (less attention wasted on fundamentals and more attentiona available to make music).
Bob Phillips
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Author: skygardener
Date: 2006-11-27 05:50
For my plastic idea I just thought about the concept that the reverse taper (ie. smaller bore) gives faster response, in general.
Yes, the plastic is on the bottom, under the LH C#/G#. I have also tied placing it between the ring-finger hole and middle-finger hole- the result is not a good. It is 5cm or so long- I curl it about 2 or 3 times to put it in the bore, it reduces the bore about 1mm. The response is a bit not as good in the right hand, but only slightly. Maybe only 1 time around is better... I will experement.
The improvement is in the notes from G to C in the left hand, second register- not the altissimo.
-S
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