Author: Clarimeister
Date: 2012-08-26 08:59
The way my teacher describes it, which works extremely well, is to think of a huge air column when playing Eb. Think Bass clarinet air column. More open than you would think. This helps with notes not being so bright and screechy (well, it IS an Eb, but at least to compensate for some of the shrillness), also as well as keeping the instrument from going VERY sharp in the upper clarion as well as high C# and D.
The extreme high notes such as D#-G, definitely don't bite, and use a very high air speed (high tongue position). And, learn as many fake and trick fingerings as you can for the upper register. They come so much in handy for various pieces.
As far as tuning goes. You just have to use your ear. You make adjustments as quickly as possible. Easier said than done, but more you play it, the more you get used to what tendencies you're instrument as well as yourself have. ALWAYS practice Eb with a tuner to see what your setup wants to do.
I have two viewpoints on Eb. Not always true, but for the most in my opinion is very helpful to think of. For wind ensembles/concert/symphonic band/etc. You are there to add colour to the upper woodwinds. Most of the time you'll be doubling flute and piccolo, and frequently doubling with the 1st clarinets. In orchestras, most of the composers wrote for Eb as a solo instrument. There are indeed many times where you will have to blend, definitely more so for wind ensembles, but for orchestra, the composers usually wanted that Eb sound heard. Not blastissimo, but loud enough to be distinct.
Good luck, and definitely ask more questions. You'll get a lot of good advice here.
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