Author: Bob Barnhart ★2017
Date: 2011-04-09 16:42
Being able to play Eb in the altissimo (often very loud) is really critical to the rationale for the instrument.
First you need to provide lots of air support. Practice playing with a big, loud sound (but still a nice tone) while maintaining a firm (not biting) embouchure.
Second, a stronger reed will help in the altissimo, but not until you can handle it by strengthening your embouchure. Once you have learned to voice the altissimo (see below) you will be better able to achieve the desired results with softer reeds.
Third, a good mouthpiece (i.e., one that can play loud, in tune and really speak in the altissimo) is essential. For years I played on a 5RV (which was a bit thin) and then switched to a Kanter Eb which I played for years in the San Diego Symphony. I've tried the Vandoren B44 (which IMHO is not a good choice), but recently switched to a Ben Redwine Zinner (1.05 opening) which for me is the best I've ever played. It gives a big, round sound and plays in the altissimo louder and more easily than any others I've tried. I've also heard very good things about the Fobes and Smith mouthpieces.
Fourth, voicing is essential to playing the Eb. One way to learn this is to practice playing 12ths (e.g., low C - upper G, D-A, E-B, F-C, etc.) on your Bb without using the register key. You need to focus/speed-up the airstream and "aim" the airstream at a higher angle than you would when you are playing in the low register. When you can get the 12ths to speak by voicing alone (i.e., without any tongue/pressure articulation or movement of the instrument or fingers), you can try this exercise on the Eb. Since the altissimo is essentially 12ths above the clarion tones, once you have the feeling of, and control over, voicing these 12ths it will make the Eb altissimo much easier.
Fifth, few Effers play in tune in the altissimo. As others have noted you need to practice playing the instrument in tune. In the altissimo, this often means alternative fingerings or embochure/air adjustments. It's good to know fingerings that are a little sharp because when you are playing FF-FFF, there will be a tendency for the pitch to drop.
Finally, Peter Hadcock's books are great. One should own both, but his Eb book (which I seem to have mislaid) is essential to playing this beast, er, instrument well.
Good luck!
Bob Barnhart
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