 The Clarinet BBoard
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Author: curiousclarinetplayer
Date: 2012-10-14 04:00
Hi Everyone!!
I have been working extremely hard to improve my tone. My issue was creating a very focused tone, I used to sound very spread. So I have been practicing the double lip embouchure during warm ups, and while playing the rest of my rehearsal, I have been pulling down my chin more while pushing down my upper lip corners.
I have also been working on my tongue position. I use "Hee,Keey, and Kick" to raise my tongue and I feel that has gotten a lot better.
I have 2 huge issues. I am now play SHARP- very. When I record myself I also notice that my altissimo notes still sound flat.
If you could offer any advice that would greatly be appreciated. Thank you for your time.
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Author: icandified
Date: 2012-10-14 08:42
Facing similar problems with my tone... I heard that doing long tones help but there hasn't been much improvements :( please help!
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Author: cigleris
Date: 2012-10-14 09:57
@curiousclarinetplayer,
I do believe from what you say that you have gone to the other extreme. Obviously I can't hear you or see your embouchure but imo, you should consider relaxing your embouchure. Having too flat a chin (which is common in the US) in my opinion is wrong. Your chin is not like that naturally I assume and so therefore why should it be like that when we play the clarinet?
Tongue position is something that you guys in the US fret over. Why? Can I suggest that you begin with forgetting the "EEE" position and start with playing a "ahhh"very much like you are saying "bar". The common mistake is that playing with a high tongue focuses the sound at the detriment of sharpness, purely because you are making the space in your mouth smaller hence pushing the pitch up. Having a bigger space in your mouth will bring the pitch down. The sound should still focused because your now relying on the air and support as apposed to the high tongue position. I believe the tongue should be flexible as an aid to colouring the sound.
Double lip embouchure will help relax the embouchure as will Ken Shaw's exercise with the cleaner stuffed into the bell of the instrument. Use the search fuction for that.
Work with a tuner everyday and do not compromise. Also do not change your equipment. Some people will address this with changing barrels etc but that just masks the issue. We as players need to be on top of all these things and know how to do it.
Good luck with it. Do get in touch privately if you need more guidance.
Peter Cigleris
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Author: curiousclarinetplayer
Date: 2012-10-14 13:05
Hello Peter!
Thank you for responding! I will try this. However, I must be honest the "Ahh, Bar," is something I have never heard of- but I am willing to try. I went to your website and I think you play beautifully.
Made sense about my pitch being raised with the tongue, however why do I still sound flat on my altissimo? I will be putting a recording of me on youtube then connecting it here so we can really evaluate it.
Again- Thank you!!
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Author: Elifix
Date: 2012-10-14 13:45
It sounds like a problem I used to have for a year but without audio-visual element, I can't be sure. Still it sounds so similar that I'm just gonna crap everything out and my experiences.
Consider taking a step back. Double lip help relaxes but using it for extended periods might back-fire. IMO, the line between a 'biting' and a 'relax' double lip is a very delicate line. And back then, because I was so used to it, 'biting' = normal.
Just chill out a bit with the embouchure or tongue position.
Maybe a little stress is needed but if it is uncomfortable, not natural or you need to force it then perhaps pushing it will only bring more harm.
I agree that a high tongue has benefited me but when my teacher said "higher higher and HIGHER!!!!" I didn't go any higher cos, weird.
Sharpness might have to do with a tense facial structure manner of playing. It's not visually obvious but tense enough to raise the pitch. easily. I do advise that if this problem has been around for a while, your mind will subconsciously develop a higher pitch recognition and when playing, will automatically respond to it. Other than a tuner, you need to really force and think 'Flat flatter flattest!!". Its more of a mind game rather than a embouchure thingy...
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Author: Paula S
Date: 2012-10-14 14:27
Hi There,
Have you tried varying your vowel shape on a chromatic scale? I find ooh, aw, ooh, aw alternately works well in the chalumeau and clarion. When I get to the altissimo I use 'th' or 'theee (as in theatre). When I come down from the altissimo to the clarion I use 'th' or 'thee' and then 'ooh'. Try 'th' if you tighten up with 'thee''. I find I get a better tone and each register maintains it distinctive feature but still sounds joined up. I have tried heee and kick but it kills the quality of my tone as I think it makes me tighten up. I think if you tighten up too much you can become sharp and if you do it to the point where you stop the reed vibrating properly you can become flat. I love Peter's playing too as it beautifully smooth and characterful unlike many players today who seem to have a boringly homogenous sound.
Post Edited (2012-10-14 14:28)
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Author: William
Date: 2012-10-14 16:13
Our local wind ensemble and orchestra conductor says that, "a good sound is an intune sound". BTW, he is also a very good clarinetist. Too often we get so concerned with tone quality that we forget intonation. Perhaps it should be the other way around......or both.
Also, what to do if your sharp?? My advice, pull out your barrel joint a bit.
ALSO, you will ultimately have to dispose of your tuner because good intonation means good cooperation with others. No one plays perfectly in tune all the time. It's simply not accoustically possible. To play "in tune" you must learn to use your ear...not your tuner.
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Author: cigleris
Date: 2012-10-14 16:31
William,
In some respects your right but, working with a tuner to know exactly where your instruments intonation is, is in my opinion paramount. Who can you play in tune with other players and adjust accordingly when you don't know where you are. Of course it's not possible to be perfectly in tune but we can try and achieve something close.
We can have have a good tone quality and I believe knowing where your personal intonation is adds to the tone quality. Why? Because the harmonics in the sound become more prevalent and therefore make the tone richer.
Peter Cigleris
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Author: maxcoletti
Date: 2012-10-14 18:55
Interesting thread. I also have this problem: while my tone improved quite a bit, the tuning went up. I'll try relaxing the embouchure, while still maintaining the same focused and deep sound. I also started practicing scales and intervals against drone tones, without a tuner as you wrote. I downloaded these drones for free from a couple of nice sites.
Post Edited (2012-10-14 18:58)
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