 The Clarinet BBoard
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Author: srattle
Date: 2011-06-08 16:03
Hi everyone,
I hope this isn't a stupid question, but I'm trying to figure out how to at least replicate the sound of a Turkish clarinet (something along the line of hüsnü)
I am playing a piece by Saygun with a section in it that I think could really use this type of sound.
Does anyone know of any resources that could help me get this kind of sound more easily? I have been experimenting, but can't get it quite right. . .
Thanks so much, I really appreciate the help!
Sacha
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Author: Katrina
Date: 2011-06-08 19:07
It's really hard to change timbre for stuff like this. What I do to replicate Bulgarians like Ivo Papazov is to change the inside of my mouth. I hold my jaw lower and my tongue slightly lower. Really though, these guys usually play really open mouthpieces and soft reeds and that makes it easier to play loud.
Hope that helps!
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Author: Kalakos
Date: 2011-06-09 02:02
First, playing an Albert system clarinet is really helpful. Second, a very, very open mouthpiece (like 1.37 up to 1.60 or more). Third, use a very soft reed (like Rico Royale # 1 or # 1 1/2). Fourth, forget the traditional, classic embouchure and style, and try a very different style.
There are all kinds of variations that different musicians use, but these are basic to beginning to look for that sound.
All of these together are what "make" the sound. Good luck, and have fun.
John
Kalakos
Kalakos Music
http://www.TAdelphia.com
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Author: Barry Vincent
Date: 2011-06-09 07:28
I notice when watching some of the Turkish players on U-tube , that they are not only using the Simple Albert system clarinet , but that it is the long instrument pitched in G, often an Armati.
Skyfacer
Post Edited (2011-06-09 07:30)
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Author: Bob Bernardo
Date: 2011-06-09 07:40
Some of them have wicked fast fingers, but I'm not fond of the 1.5 reed strengths.
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Author: Kalakos
Date: 2011-06-09 22:30
Exactly right on those G clarinets:
Most Turkish musicians play the G klarnet. Amati and Karl Hammerschmidt are favorites of theirs. I had an Amati (very good G clarinet), but sold it and bought the Hammerschmidt because it was available with fewer keys which I prefer. There are several Turkish makers as well and the metal G clarinets have been favorites for many years.
Serkan Cagri, famous younger Turkish klarnet player, has "signature" G klarnets made by both Amati and now Karl Hammerschmidt.
Good luck.
John
Kalakos
Kalakos Music
http://www.TAdelphia.com
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Author: srattle
Date: 2011-06-10 00:29
thanks for the comments
I think I maybe didn't make myself clear. The piece I'm playing is a classical piece, written by a turkish composer, and has a section in the middle that I would like to sound more like a turkish clarinet. I will not be able to change clarinets or mouthpieces, so the hole thing will have to be using my set up.
I was wondering if there is a way to 'emulate' the sound using a normal classical set up (I even use a closed mouthpiece with hard reeds)
Any clues for this? I'm getting closer, but not quite.
Thanks
Sacha
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Author: Katrina
Date: 2011-06-10 04:04
Sacha,
I usually play on a medium facing with medium reeds (Borbeck 13 with Legere standard #3s). I use my jaw and tongue to approximate the sound of Balkan clarinetists. I also use the same set up for classical, although I must admit I'm not performing lots of Mozart these days!
If you can play with a wide, uncontrollable-sounding vibrato, this will sound closer. Additionally, try to play with a less-focused sound than you normally use for classical. As I said above, I drop my tongue to a lower position and drop my jaw as well, using less pressure on the reed from my jaw/teeth.
That's all I can give ya in words on the internet!
Katrina
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Author: clarinetistra
Date: 2011-06-10 16:01
It's always struck me that the (Yugoslav) Macedonian clarinetists I've met tend to use fairly hard (#3ish) reeds for playing folk music. Pretty far cry from what Greeks and Turks usually use, but they still manage to get the sound. A good reminder that a big part of what we're dealing with here is a "sound concept", not just set-up. That said, I play both classically and Greek/Turkish music on extremely different set-ups and seem to spend more time than I'd like searching for the holy grail of equipment ; )
If you're in NYC, look up Ismail Lumanovski. Really nice guy, and an astounding performer on both western classical and Macedonian folk. Last I chatted with him, he was using a pretty similar setup for both styles.
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