 The Clarinet BBoard
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Author: CarlT
Date: 2014-05-17 02:36
Our community band is playing a version of "Moon River", and I'm supposed to slur 1/8th notes from 2nd line G to the next higher (clarion) G at volume level "mp", but hard as I try, the higher G seems to "pop out" at least at mf, not mp.
In general, how can I best get good tone when playing the higher clarion notes at p or mp? Would the same reasoning hold for playing altissimo notes softly?
Thanks in advance.
CarlT
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Author: Paul Aviles
Date: 2014-05-17 06:49
The 'G' thing might be easier if you have a few fingers down for the throat 'G' already (i.e. 2 and 3 of the right hand or even all three).
I don't necessarily agree that "mp" means "mp" for every note in the designated section. For me it is a statistical average, with individual notes allowed to have greater and lesser stress depending on where you are going with the phrase. The figure to which you refer would be closest to 'mp' for both octave if this is an alberti figure (more of an accompaniment).
I would say you want the air more focused for the upper notes. Even at low volumes (probably even more so) you need to keep the intensity in the air stream which is best achieved with the tongue in a position as if you were saying "EEEEE."
............Paul Aviles
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Author: clarinetist04
Date: 2014-05-17 16:57
Blow through the lower note. To the audience, it sounds softer than the higher note ( even if you're playing them at what you perceive to be the same volume) - build up good breath support on the lower G and back off slightly when you move to the higher G (leave the RH fingers down for both, as Paul suggested). Don't stop the air - blow through the jump, just decrease the intensity once the higher G is set.
Also practice, practice, practice. There's a brutal, but effective, octave exercise in the Baermann Celebrated Method.
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Author: Jack Kissinger
Date: 2014-05-17 18:20
I wonder if Paul and Robert mean for you to hold down 2 and 3 of your left hand rather than your right in this case since your jump is to clarion G. While 2 and 3 of the right hand (with a cluster key) may improve the throat G in general, they obviously won't work with the higher G.
When I try this with my (Yamaha CS) clarinet, though, I find that putting down both 2 and 3 of the left hand, lowers my throat G about 20 cents. That's too much for me. Using 2 by itself lowers the throat G about 10 cents, still too much, IMO. The effect of 3 alone is negligible on pitch. Because YMMV, I think you need to check this with your clarinet.
You can try also holding down the right-hand F/C cluster key for both notes. That increases the resistance in the tube slightly and may improve your control of the higher G.
I would recommend you try fingering the throat G:
oox|ooo F/C
and the clarion G:
RT xxx|ooo F/C
You can try the other cluster keys to see if one of them helps more on your clarinet or omit the cluster key altogether if it doesn't help. Really, what Robert told you to do with your air is the important thing. His explanation of how to use your air for upward leaps is about as clear and concise as anyone could put it.
Best regards,
jnk
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Author: Paul Aviles
Date: 2014-05-17 19:04
Hey Jack,
Actually I DO mean 2 and 3 of the right hand. At lower volumes it should be easy to compensate for the "lowing affect" of the throat "G" with the extra vent fingers. This affect is less at soft volume anyway.
Without trying it yet, I would think adding a left finger to the open "G" would cause more pitch issues or unnecessary stuffiness, but I'll give that a whirl this morning.
My first point though was more that movement from register to register is easier if you move fewer fingers (leaving more down). A good example is throat "Bb" to the clarion "B." If you are using the standard register key and "A" key "Bb," the "Bb" can be fingered adding 2 and 3 of both hands. this way you are only moving first fingers, thumb and one pinky to get to the "B" above (and you can even have that pinky down for the "Bb" too !!!).
..........Paul Aviles
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Author: Paul Aviles
Date: 2014-05-17 19:19
Ok, just double checked. The extra fingers are for RESONANCE as well. Listen to the dramatic difference in the sound with and without 2 and 3 of the right hand. The left finger doesn't really add anything.
..........Paul Aviles
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Author: Jack Kissinger
Date: 2014-05-17 20:27
Paul,
The OP's problem is not with the open G (except that he may not be giving it enough air support). His problem is with keeping the clarion G soft in the leap. As I said in my previous post, the bottom two fingers of the right hand down don't harm throat G (in fact improve it -- my standard fingering from throat G is ooo|oxx G#/Eb.) But I fail to see any reason for having ANY right hand keys down for clarion G in this situation.
You can't play clarion G with any right hand tone holes covered (unless you open the left hand C#/G# key). 1 alone will give you F, either two or three alone will give you F#, 2 and 3 will likely give you a very stuffy clarion F# or an unstable altissimo F#, or, if you're lucky, a mulltiphonic. If you are saying put 2 and 3 of the right hand down (without a cluster key) for the throat G then lift them for the clarion G, I fail to see the benefit. Keeping (all the fingers of) the right hand down is great for going back and forth between throat G and (low) clarion B, C, C#, or D#. Leaving the appropriate right hand finger down is fine for going back and forth between throat G and clarion E, F and F#. But the only way you can go from throat G to clarion G with 2 and 3 down on the right hand is if you play clarion G:
RT xxx C#/G#|oxx
Your original suggestion that Carl finger clarion G as:
RT xxx|oxx or RT xxx|xxx
simply will not work. In fact your second suggestion (all three down) is the standard fingering for clarion D, isn't it?
jnk
Post Edited (2014-05-17 20:43)
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Author: Paul Aviles
Date: 2014-05-17 21:37
Dear Jack,
Yes some apologies are due.
I was not thinking of the note at the top of the staff properly.
You are correct, I am only ADDING fingers and making the process MORE complicated from that standpoint.......sorry.
I honestly think I have only been half reading these posts all week !!!!
I do have a prejudice toward using the resonance fingers for most throat notes at all costs, only abandoning them at high volumes and faster passages. At a slow transition from one "G" to the next higher I might make a case for there to be a more even response with the resonance fingers but honestly your suggestion is the best.
I need to have another cup of coffee.
..............Paul Aviles
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Author: Jack Kissinger
Date: 2014-05-17 22:28
Thanks, Paul, but no apology necessary. We all make mistakes. And I totally agree with you about resonance fingerings.
Anyway, the important thing is that Carl has some ideas to try out and I think the key point here is really the appropriate use of air.
A cup of coffee sounds good.
Best regards,
jnk
Post Edited (2014-05-17 22:30)
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Author: Wes
Date: 2014-05-18 01:28
Clarion register G is not so easy to play soft as other nearby notes because of a normal acoustic resonance situation with that note. It is analogous to the "wolf" notes of many fine cellos, not unusual. The cause is the coupling of the low Q resonance of the unused bottom half of the clarinet with open holes acting to amplify the G note. A good reed helps control this situation and one gets used to not blasting this note out.
These resonance situations occur with oboes, English horns, and (to a minor extent) saxophones. Good luck!
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