 The Clarinet BBoard
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Author: Campana
Date: 2012-03-19 12:46
I've been playing since November, had little or no trouble crossing the bridge and playing the next 3 notes (If I exclude clumsy fingering). I've had to work a little harder to play the next 2 tone holes but at least progress seemed to follow the usual lines, practice and an embouchure slowly getting stronger. However C6 seems to be different somehow, I just feel there's a barrier or that I'm missing something. In any event I'm getting nowhere.
I have read of 2 possibles causes.
This particular note removes all support from the clarinet, except the thumbs and even the left thumb needs to push upwards. This means an additional downwards pressure has to be found by the mouth which spoils the embouchure.
That soft reeds can't play the higher notes, I play a 2.
I'm in no hurry, I'm happy to let time and practice get me there but I wondered if either of the 2 considerations above have any validity and if I should be doing anything about them
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Author: Paul Aviles
Date: 2012-03-19 16:22
I'm NOT an adherent of the idea that one pushes up with the thumb. As far as I am concerned one only needs to support the clarinet with the thumb .....period.
As for your issue. You may be 'closing up' the space between the reed and mouthpiece by pushing up too much or biting or both. For me the best embouchure formation is to apply energy AROUND the mouthpiece (more to the point though) with a firmness in your lips BUT NOT a squeezing IN, just a firm platform for the mouthpiece/reed to sit in.
In other words you should be able to form an 'ideal' orifice for the mouthpiece/reed without the mouthpiece reed in your mouth. Then all you need to do is place the mouthpiece reed into this perfectly formed openning made just for it.
It may also help to think of the fact that more air will be required for higher and higher notes.
........................Paul Aviles
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Author: kdk
Date: 2012-03-19 16:44
Both of your suspected explanations are playing a role.
putz wrote:
> This particular note removes all support from the clarinet,
> except the thumbs and even the left thumb needs to push
> upwards. This means an additional downwards pressure has to be
> found by the mouth which spoils the embouchure.
I'm not sure what you mean by "downwards pressure... by the mouth," but if you mean that the mouth needs to somehow move toward the mouthpiece because the hands are no longer pushing it upward, I think you're thinking in the wrong direction, although you're right about the problem. As Paul says, you need to support the instrument with your right thumb. Your embouchure can help to stabilize the instrument from drifting sideways, but you still need to hold the instrument *up* with the right thumb, not push your head *down* to follow a sagging instrument.
> That soft reeds can't play the higher notes, I play a 2.
Paul Aviles wrote:
> As for your issue. You may be 'closing up' the space between
> the reed and mouthpiece by pushing up too much or biting or
> both.
Using too soft a reed for the mouthpiece you're using can cause a problem by making it too easy to do what Paul is describing. You need a certain amount of firmness around the mouthpiece to support the reed's vibration, more firmness as you climb through the clarion register. If the reed isn't strong (resistant) enough to withstand the pressure from that firmness, it will close off. If you use too little pressure to avoid losing the reed, it may not be enough to get the reed to produce the harmonic you want.
So, you should try moving up a half-strength at a time so long as you don't reach a point where your chalumeau (low register) and/or throat notes (F4-Bb4) have become airy or breathy sounding (if you reach that point, back off to the next lower half strength). So long as it hasn't cost you anywhere else in the instrument's range, you should find those upper clarion notes (A5-C6) easier to produce. Most of my students, playing middle-of-the-road mouthpieces (in terms of facing resistance) play on #3 or #3-1/2 reeds. Unless you're playing on a mouthpiece in a more extreme range one way or the other, you can probably safely skip #2-1/2 and see if #3 works better for you.
Whenever you change reed strengths, don't judge the result on the first note you play with the new strength. Play a few notes - unless it turns out to be really uncomfortable, play a couple of scales to get used to the change. Then think about whether it's an improvement or not.
Karl
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Author: TianL
Date: 2012-03-19 16:54
soft reed can play high notes. one day i was in doubt of that and my teacher took a 2.5 out of a box and went all the way up to the C above the C you are having trouble with. he normally uses 3.5.
sure with a harder reed you will probably have an easier time playing the higher notes, but it will also cause other issues to your playing and you may end up forming bad habits because of it. it's almost for certain you are going to hear people telling you try a harder reed but i would say stick with #2 until you feel (in all the ranges) that 2.5 will give you a better (and still clear) sound.
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Author: Campana
Date: 2012-03-19 17:51
...I'm not sure what you mean by "downwards pressure... by the mouth...
It's the "Engineer" in me. As you are depressing the register key against it's spring pressure I assumed that this necessitated an upwards pressure that had to be counteracted by an equal and opposite force, normally from any fingers on top of the horn. In the absence of any fingers on top of the horn for this particular note I further assumed that it must become an additional force that the mouth has to provide.
I realise I was over analysing and have only written the above to explain where I was coming from.
Thanks to all for the advice.
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Author: kdk
Date: 2012-03-19 20:50
Tian, to clarify, I can play C6 with any reed on any mouthpiece I've ever experimented with. An accomplished player can do lots that an inexperienced player can't (until he gets more experience and control).
Respectfully, I didn't say putz should use a hard reed - just to try a less soft one. And it's important to pay attention to the effect of any reed change - up or down or even sideways to another brand or model - on comfort and clarity of all registers. We don't, I think, disagree on that at all. I would only replace "will" with "may" in your statement that "it *will* [may] also cause other issues to your playing." But putz and other less experienced players who aren't being guided by experienced teachers (which is usually why they ask questions here) have no way to know when they "feel" that a harder reed will be an improvement unless they take a breath and try it. If the resulting sound is stuffy - breathy, difficult to control, inflexible, - then they can and should go back to what worked better.
Karl
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Author: Arnoldstang
Date: 2012-03-20 01:52
Try playing the D above high C. It has more fingers down to support the instrument. Then practice going from high D down to C.
Freelance woodwind performer
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