 The Clarinet BBoard
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Author: JackFeeney
Date: 2008-02-19 23:55
In books and Web sites I've consulted "The Break" (most often noted as Ab, A, Bb) is described as difficult to play. But the reason isn't clear. Is it a difficulty of fingering, embouchure, or both?
Thanks for your attention to this question. (I still haven't bought my clarinet. Just doing prep work.)
Jack Feeney
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Author: Steve Epstein
Date: 2008-02-20 00:05
Try it some time Basically, your hands have to rotate back and forth as you go above, below and through the break while still maintaining precise articulation of the notes. Clarinets, unlike other winds that over blow an octave, famously over blow a twelfth. Those steps are found at the top of the top joint, and thus also called throat tones. The notes themselves may have tonal quality or pitch issues on some instruments, even when the instrument is well made and in good repair.
Steve Epstein
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Author: redwine
Date: 2008-02-20 00:28
Hello,
The difficulty with the break is that b-flat, the highest note below the break has the least resistance of any note on the clarinet. The b, the lowest note above the break has the most resistance of any note on the clarinet. When playing below the break, some young players relax their embouchure, as the notes are easy to play. Then, when they have to cross the break, they go to notes that are not so easy to play. Unfortunately, most method books teach the break in this way, from below to above. I maintain that one should learn it the other way, from up to down. Because one has to have a proper embouchure to produce high resistance notes, only a good embouchure works. The low resistance notes work with a good embouchure (obviously), but they also work with a not so good embouchure. If one plays the high resistance notes first, then goes to the low resistance notes, one will tend to maintain the good embouchure at all times. Definitely try to make your embouchure feel like it does when playing high resistance notes when playing low resistance ones. Your sound and intonation will thank you (and so will your audience!).
Ben Redwine, DMA
owner, RJ Music Group
Assistant Professor, The Catholic University of America
Selmer Paris artist
www.rjmusicgroup.com
www.redwinejazz.com
www.reedwizard.com
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Author: Ed Palanker
Date: 2008-02-20 00:51
Hi, all the above is good advise but the basic problem is going from no fingers covering any holes to all the fingers having to cover all the holes. If the holes where covered as on a Sax or other wind instruments it wouldn't be as much of a problem but on the clarinet the holes are opened. When a beginner or young player begins to play, especially if their fingers are small, they don't cover all the holes properly causing the notes not to come out or worse, squeaking. ESP
peabody.jhu.edu/457
ESP eddiesclarinet.com
Post Edited (2008-02-20 00:52)
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Author: Paul Aviles
Date: 2008-02-20 02:52
Also, doesn't have to be "all fingers off." Leave all three bottom holes covered and the Right Hand "C" key down for "G" and "A" going up so that you only add the left hand for the "B." Can do the same coming down but remember the added fingers would mess up notes below second line "G."
...............Paul Aviles
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Author: EEBaum
Date: 2008-02-20 03:36
Along with the notes having to cover the holes, the airstream needs to make it down to the bottom.
A common mistake is to keep diminishing the force behind the airstream as one goes higher in the scale, since each progressive note requires less of the clarinet to sound, and subsequently failing to realize that the notes just above the break utilize the entire length of the instrument. Many a break-impaired player will play a B as if it's an even "higher" note on the instrument than the Bb, even though the B is produced with as much of the tube as the low E, and should be treated as such.
-Alex
www.mostlydifferent.com
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Author: janlynn
Date: 2008-02-20 12:20
i think the difficulty is doing it smoothly so that there is no obvious difference.
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Author: Mr.B
Date: 2008-02-20 12:32
Thanks all,
What a great thread, I just copied, pasted and printed the previous replies and will pin the sheet on the wall in our practice room (12 year old son and I, 40ish, are both learning together). I was at the point where I was considering taking my instrument to a shop and have it looked at.
What I understood was hard about the break from the self teaching books was all about finger movements and noting about air movement speed. As a result anything above the break is dull and weak. There is also a delay between tonging the reed and the beginning of the sound. This will certainly help. And I know a clarinet teacher would also help : )
Benoit
40ish beginner
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Author: Mark Horne
Date: 2008-02-20 17:58
I've also found that the B above the break is probably the most sensitive to leaks or misadjusted keys. In working with older instruments I find it's very common that the F/C pad does not seal completely when the E/B keys are pressed (right or left pinky). The slightest leak will cause the B to sound stuffy and weak, or not at all.
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Author: Philcoman
Date: 2008-02-20 20:46
And by the way, if you haven't even gotten your clarinet yet, don't sweat the break. You won't have to do it on day 1!
You'll have plenty of time to master your chalameau fingering before you get to the break. And once you do -- it's like riding a bike. It'll seem impossible for a little while, but once you get it, you get it.
"If you want to do something, you do it, and handle the obstacles as they come." --Benny Goodman
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Author: Don Berger
Date: 2008-02-20 21:46
A fine compilation of "break" experience/conquest. I agree with about 95% of the info above. Yes, when you can , have the right fingers down for the throat tones, it actually helps most of them ! My favorite excersize is to play the first several notes of "76 Trombones" starting on open G , increasing speed as the fingers find their "home". Also Ben R's comments on the "down-way" note progression are well put, for breath control training, as are the possible problems with pad leaks resulting in non-sounding B Nats. !! Experiment, Don
Thanx, Mark, Don
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Author: LicoriceStick
Date: 2008-02-20 22:41
Hi All:
I've found that holding down the low E key on the right hand can sometimes "stabilize" that open Bb - be careful of intonation, though. I've used this in more melodic passages where pitch and intonation can be controlled - fast playing is difficult unless you've got good technique.
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Author: tictactux ★2017
Date: 2008-02-20 22:59
I was advised from day 1 to keep my right hand "down" for all throat tones, and to play the Bnat (just above the break) with both the left (b) and right (c) pinky down till the (then new) pads have found their final setting.
Now it is second nature, I automatically down my right hand when going up and even A-Bb-B-Bb-A howls aren't more difficult than other passages.
--
Ben
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Author: ltguidetti
Date: 2008-02-21 04:38
I don't even mention "the break" to my students. Half the problem is the mental block they get from band directors who think it's a problem. (The other part usually has to do with horns that have leaks, or fingers that are small.)
I have them START on the B, and go DOWN to the A. That's easy. Usually they can get back up, because they don't have it in their heads that that part is hard. And we can leave the right hand down while doing it. 
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Author: Steve Epstein
Date: 2008-02-21 05:49
I hadn't actually considered the answer that everyone else has given, because it's been so long since I had to learn how to maintain air stream and embouchure to avoid squeaking, under-blowing, etc. But that certainly applies to a beginner. For a more advanced player, however, there is the issue of fingering technique in fast passages when going back and forth from A to B and above.
Steve Epstein
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Author: C2thew
Date: 2008-02-22 00:30
"I don't even mention "the break" to my students. Half the problem is the mental block they get from band directors who think it's a problem. (The other part usually has to do with horns that have leaks, or fingers that are small.)
I have them START on the B, and go DOWN to the A. That's easy. Usually they can get back up, because they don't have it in their heads that that part is hard. And we can leave the right hand down while doing it."
That is Excellent advise. the mental block will tell students that if they can't play these notes while their instruments might have leaks, it will anger and frustrate them, causing them to give up. my friend in highschool left and joined cross country because of his struggles. At that time, i didn't know squat about clarinet repairs and such. now i know better.
Our inventions are wont to be pretty toys, which distract our attention from serious things. they are but improved means to an unimproved end, an end which was already but too easy to arrive as railroads lead to Boston to New York
-Walden; Henry Thoreau
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Author: MalcolmH
Date: 2008-02-22 06:49
I enjoy playing the B minor arpeggio (B D F# B D f# B). You cant use resonance finfering from the F# to B accross the break so it's good practice for nailing the positioning of the fingers.
Once you get it smooth and even sounding accross the break I find it a very satisfying exercise.
Malcolm
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Author: S. Friedland
Date: 2008-02-22 19:17
Whomever mentioned not mentioning the word BREAK should be commended,as this connotation can spread terror especially if explained by a teacher who may teach in this manner.
Whomever says leaving fingers on in order to make "it" easier is incorrect. Of course, if the throat of your clarinet is sharp as many are, this may in fact mask the problem, but it doesn't lower the pitch that much, if at all. It dulls the notes quite well, making technic even less even.
Starting on the note above, the middle B is OK, but really doesn't solve the problem. The problem is after all, going from the A to the B.
What does help is making quite sure that the most important finger is placed correctly in going from A to B.
Which?
The index finger of the left hand. This finger leads all of the others in leaving the A spatula and rolling to the first ring on the left hand.For young players or those that have trouble with A to B even in a professional situation (yes, there are those), practicing only moving cleanly from the A to the first ring will really help.
Than, do this while adding the rest of the fingers and it should be much smoother and more facile. Of course, it may not happen immediately and there needs to be real understanding of the concept and practice as well, however that initial sealing of A to B using the index finger of the left hand as the connecting point is the beginning of the end of the problem.
Sherman Friedland
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