 The Clarinet BBoard
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Author: pzh97
Date: 2011-10-16 12:18
I have just seen the banner on the inside of the case with "The sweetest clarinet ever made".So i want to know that how to play"sweet"with my 1956 R13.Thanks a lot....
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Author: sonicbang
Date: 2011-10-16 13:10
Maybe it's not about the sound at all...have you ever tasted that horn?
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Author: Chris P
Date: 2011-10-16 13:12
Drink loads of Coke and eat cakes before playing.
Listen to a player whose sound you admire and try to emulate them. Record yourself and listen to the playback and see what aspects of your tone you can improve on and concentrate on that.
The most important thing is to have a good idea of the sound you like and aim for that.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Barry Vincent
Date: 2011-10-16 20:20
My plastic single reed pipes have a sweet sound. I have two of em , a Jupiter 631 and a Schreiber 6010. It's said to be the characteristic sound of plastic clarinets which is apparently why many clarinetists don't like em.
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Author: Ken Shaw ★2017
Date: 2011-10-16 22:22
YOU play sweet, not the clarinet.
Every good player has spent hours experimenting with his/her soft palate, tongue, lips and breath to learn to voice the tone "sweet," as well as many other colors. For example, rolling more lower lip in over your teeth and bunching it up produces a blending tone, warm but a little dull. Pulling it out (so that only half the red part is over the teeth) and stretching it thin produce a resonant, soloistic tone that sounds like tearing sheet-metal if overdone. And there are a million places in between.
Don't be afraid to experiment. If the only way to change your tone is to make a face like an aardvark or let your cheeks puff out like Dizzy Gillespie, or stand on your head, DO it. You're only in the practice room, and no teacher will see. Once you do it crazy, you can learn to do it so it looks "normal."
I strongly urge you to read http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=94788&t=94788, which is solid gold advice from the great Robert Bloom.
You can spend the big bucks on ligatures, barrels and bells, but you can do the same for yourself at no expense -- just effort and listening hard.
Ken Shaw
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Author: Bob Bernardo
Date: 2011-10-17 00:29
Well I have a double case. "A" and "Bb.
My new Buffet case, about 3 months old, says -
"Good luck with getting a sweat sound. No returns accepted!"
I guess they were getting too many recalls.
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Author: Tony M
Date: 2011-10-17 00:34
Ken - thanks for the link to the article thread. I read through the article and the thread and enjoyed both, the article because it is something further to concentrate upon and the thread because of your wise admonition at the end.
pzh97 - I suspect that 'sweet' is one of those technical terms like 'dark'. Where would we be without science?
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Author: John Scorgie
Date: 2011-10-17 02:25
Ken --
Thanks for your great advice on varying tone color through embouchure adjustment along with your reference to the insightful Robert Bloom article.
My recommendation for an exemplar of beautiful and varied tone color in truly expressive double reed playing (among so many great Robert Bloom recordings) would be his cor anglais solo on the 1950s Stokowski recording of Sibelius' "The Swan of Tuonela".
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