 The Clarinet BBoard
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Author: CarlT
Date: 2008-05-30 17:03
I am a 70 year-old beginner just learning to get over "the break". I do fairly well until I get to the A-to-C range above the staff, B being worse than A; C being still worse. I find that if I change embouchures just a wee bit (by taking in a little more mp into my mouth) that these notes sound better. My teacher had told me NOT to change embouchures EVER. What am I doing wrong with these notes?
I have one more problem at the low end of "the break". When I play natural "B" (3rd line in staff), many times I get a low-squawk (not high-pitched, but more a goosey type squawk). I don't get this squawk with higher notes...just the "B". I am 99% sure no air is escaping. Can you help with this (my teacher is out-of-pocket for a couple of weeks, or I would ask him)?
Thank you all so much for any advice. I just love my new hobby.
CarlT
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Author: CarlT
Date: 2008-05-30 17:41
I forgot to add that I am learning on a new rental Selmer 1400 Bb clarinet (plastic, el cheapo, but worthy of learning on I understand from my teacher). I use 2-1/2 Rico reeds.
CarlT
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Author: Merlin_Williams
Date: 2008-05-30 17:49
CarlT wrote:
>I am a 70 year-old beginner just learning to get over "the break". I do fairly >well until I get to the A-to-C range above the staff, B being worse than A; C >being still worse. I find that if I change embouchures just a wee bit (by >taking in a little more mp into my mouth) that these notes sound better. My >teacher had told me NOT to change embouchures EVER. What am I doing >wrong with these notes?
If they sound better by taking more mouthpiece, try playing the lower register notes with the same embouchure that works for the higher notes.
Your teachers admonishment to keep your embouchure constant is correct...assuming you're taking in enough mouthpiece to start with.
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Author: Tony Beck
Date: 2008-05-30 19:44
Has your instrument been checked for leaks? The problem you discribe can happen with a leaky pad. Otherwise, do try using the embouchure that works for middle B on your other notes.
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Author: Jameslyons
Date: 2008-05-30 19:49
I practiced Brahms' Lullaby. AA C, AA C. To practice low Altissimo notes, I played a transposed Vivaldi's four Seasons piece.
Another piece of music you might want to look at is Fur Elise. The Natural B squawk may be from the general difficulty of switching over. I used to squawk on the B, too.
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Author: S. Friedland
Date: 2008-05-31 02:23
The low squeak is the sounding (almost) of the low e, which had the same fingering. Probably you are opening the register key late, producing that low squeak.
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Author: William
Date: 2008-05-31 15:10
One thing that usually worked with my 6th grade beginning clarinet students was to have them use a little "extra" right hand upward thumb pressure when playing in the upper register. Just a little extra "push" automatically causes the embouchure to resist and become more firm to support those higher sounds. And by keeping this pressure all the time, your embouchure should become uniformly firm for all registers--satisfying your teachers requirement for "same embouchure" for all notes. A little extra upward pressure (towards your mouth without raising the angle of the instrument ;>) with your right thumb should help those notes pop right out and cause your neighbors dog to exit your backyard. To paraphrase Ben Franklin, "Practice loudly" (you know--meaning good breath support is also essential) Good luck.
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Author: CarlT
Date: 2008-05-31 15:10
Thanks to all who responded.
I am getting better with the "squawking". I think Mr. Friedland may have hit on it, but all your ideas will be useful to me at one time or another.
I plan to be persistent, as well as consistent, with my practice, striving to get better each day. I learned a long time ago when I was learning something new that practice alone is not always productive and may even be non-productive, but perfect practice leads to perfection. I believe by slowing my practice down until I can get the right sound should come before speed.
I also plan to read posts on this forum that would help a beginner like me. Another hobby of mine is woodworking, and I think I learned most of what I know from reading posts off one of the good woodworking forums.
CarlT
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Author: Chris P
Date: 2008-05-31 16:11
Are you keeping your right hand fingers down when crossing the break?
When going from Bb to C (and then back down to Bb), keep your right hand fingers down all the while you're playing the Bb.
So the Bb fingering is: Sp, A, ooo|xxxF/C
And the C fingering is: Sp, xxx|xxxF/C - which is replacing the left hand fingers and coming off the A key.
Practice playing Bb-C-Bb-C-Bb-C-Bb very slowly and as smoothly as possible (slurred, not tongued) until your left hand fingers and change in breath pressure gets accustomed to it, then gradually speed up.
You can do the same thing as above, but playing Bb-B or A-B instead, or even wider intervals such as G-B, G-C or G-D, in each case keeping the relevant right hand fingers down while playing the G.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: S. Friedland
Date: 2008-06-02 01:35
Well, just after looking at all the posts I am somewhat surprised that nobody hit on the most important aspect of crossing to so-called break, and there is one which comes before all of the others, especially not throwing every finger down which is after all,preparatory. What is paramount, most important, is the connection and that is the left hand index finger. When coming off the A and crossing the left hand index leads and covers the F# ring first. Without that first connection, you will not achieve any note, but some random noise, or just passage of air(and we all know what that is). When the index finger on the left leads, everything will come and easier as well.Lead with your left index finger. It is then just a matter of support. Keeping fingers down is wrong and makes this a real problem.
Good luck.
Sherman Friedland
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Author: rtmyth
Date: 2008-06-03 15:17
Come to think about it, which I have not done for 70 years, Sherman has it right.
richard smith
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Author: Synonymous Botch
Date: 2008-06-03 22:44
To quote the inestimable Anthony Gigliotti, "BTSOI!"
Blow The S*** Out of It!
You must force the vibrating air column to react quickly, emerging from the toneholes nearest your mouthpiece to the ones furthest away.
It's a LONG way for a note to travel.
It helps to have a little "oomph" of air from the belly to get it over.
Sort of like hitting topsin from baseline to baseline - you have to lift a little.
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Author: bassbuddy
Date: 2008-06-04 00:58
About a year and a half ago I decided I wanted to be a music major, but I only played bass clarinet well. I needed to play clarinet too. So I played it, but was incredibly flat and had trouble covering the holes.
B was the absolute hardest note on the instrument, with C being a bit easier. I could get all the way up to high C with no problems. One of my warm-up drills would be to go from A to B over and over. With time and long tones, it became very easy to get a good tone on B.
Now I'm almost as good at Bb clarinet as I am at bass! Just give it some time (and don't worry about only having a plastic clarinet-that's what I played on and sometimes you can make it sound as good as a buffet!).
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