 The Clarinet BBoard
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Author: Ashley91489
Date: 2006-12-23 15:46
I can play up to a C, sometimes D (above the staff) when slurring from a note or two lower but it just squeaks when I try to make it come out on its own.
I can play just about any high note on soprano but I'm having a bit of trouble when it comes to the bass.
Right now I'm using a Rico Royal 3 reed on a Fobes Nova m/p.
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Author: pewd
Date: 2006-12-23 16:29
Dont cover the hole in the top pad.
Keep your left index finger down on the tab on the top key, leaving the little hole open, and that pad down, for all altissimo notes.
- Paul Dods
Dallas, Texas
Post Edited (2006-12-23 16:31)
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Author: bob49t
Date: 2006-12-23 19:58
Adding to pewd's good advice.................
More than any other higher pitched clarinet, it's important NOT to "help" the elevation by tightening the embouchure AT ALL. In fact, the bigger the clarinet, the easier it should be to produce notes in the altissimo.
Just a suggestion, but as an exercise.......
Try going DOWN a strength of reed and really letting your chops go at the top. It'll be a strange experience at first, but ...if there's no pad leak ... these high notes should come out neatly. With the "feel" in mind, go back to your regular reed strength and apply what you've learned.
OK, it works for me when I've been playing a lot of sop clar, but I do understand it may not work for everyone.
BobT
BobT
Post Edited (2006-12-23 20:14)
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Author: Chris P
Date: 2006-12-23 20:23
My clarinet teacher told me to relax my chops for the top notes when playing bass, and use a much firmer embouchure for the bottom register which does indeed work and certainy gives that classic full and reedy (but definitely not a thin and windy) bass clarinet tone.
I've had a link fitted to the LH main action so that LH 2 holds down the top fingerplate, so the altissimo register can be played by lifting LH 1 off (as in soprano clarinet playing) rather than rolling down to uncover the perforation.
And this linkage also gives throat F# as ooo|xoo which is pretty handy as it frees up the left hand in some arpeggios (some of which involved D# below that and A# above) - I found it very useful recently when doing 'Bridge on the River Kwai' suite which had loads of these awkward fast arpeggios which otherwise would have been hard work without this 'special' F# fingering - I could keep the lower A#, the D#, the F# with RH 1 held down throughout, as well as having some RH fingers already down when it went above the break.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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