 The Clarinet BBoard
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Author: isiaah
Date: 2015-03-28 06:54
I have only been playing the clarinet for four years and I am at a point now where I really want to perfect my sound and articulation etc. Anyways, first thing I am looking to accomplish is to create a better tone. I like the warm, dark clarinet sound and I have no idea how to achieve it. I don't know what factors effect my sound either such as my instrument, reeds, ligature. If someone could explain to me the process that one would take to create a dark sound that would be so helpful!
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Author: Johnny Galaga
Date: 2015-03-28 07:46
One of the difficulties of internet forums is understanding what is meant by a "warm" or "dark" tone. Another challenge is being able to hear and watch a person play. I think for certain topics, there is a point where a player just has to go out and seek lessons (and boy could I use lessons). I think this might be one of those topics.
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Author: Tony F
Date: 2015-03-28 08:33
The most effective way of achieving this is to have in your mind an idea of what you want to sound like. Listen to players whose tone you admire and then record yourself playing while you try to produce the sound you want. Long tone exercises are very valuable in developing this, but do them analytically. Listen to the sound you are making and make it sound the way you want it to. You'll always sound like yourself, as we are all unique, but this will give you pointers to the direction you want to go.
Reeds and mouthpiece all have an effect on how we sound as does the instrument itself, but the single part that makes the most difference is you, and when you have found your sound you will be able to produce it on just about any instrument. Choose a mouthpiece that works best for you and a reed that works well with the mouthpiece. As a rule, use the softest reed that will allow you to play as you wish. Don't get hung up on using overly hard reeds.
Disclaimer. This works for me, your mileage may vary.
Tony F.
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Author: Wisco99
Date: 2015-03-28 12:24
I had a flute teacher in college many moons ago who used a reel to reel tape recorder (remember those) to record parts of his students lessons so they could hear themselves. Very often what you think you sound like, and what you actually sound like are quite different. If you have the ability to record yourself now and then you might be in for a surprise.
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Author: pewd
Date: 2015-03-28 18:28
Are you taking lessons? If so, ask your teacher for exercises to strengthen your fundamentals. And have your teacher evaluate your setup - reeds, mouthpiece, etc. If not, find a good private teacher. There are plenty in your area.
- Paul Dods
Dallas, Texas
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Author: Paul Aviles
Date: 2015-03-28 18:39
Well I would respectfully say that you can be told, "you need a bigger sound," or you can listen to great players all day long, but without SOME guidance on HOW to do it, the process can and be illusive.
For me, I find many players just not generating enough air. You need to be actively PUSHING air to create a resonant sound. A friend of mine COMPLETELY turned around one student's sound just by saying,"you need to push from the gut." I would also say it's helpful to say that if you could put a gizm like a tire pressure gauge into your mouth, there is a certain minimum amount of pressure that you need to have in your oral cavity at all times while playing even the softest notes.
So my spiel is as follows:
You need to use your core (abdominal muscles) to actively push air OUT of your lungs (realizing of course that the diaphragm ONLY fills the lungs). The goal is to keep this column of air you are generating as fast and as focused as possible. The next step to be mindful is the top of the throat. You must keep this area CLEAR of obstruction (that is the back of the tongue) by allowing your tongue to remain in a "natural position" or positioned as if you are making the sound "EEEEE" (this is opposed to saying "AHHHH" which causes the back of the tongue to BLOCK the passing of air out of the throat). The final key is to tongue using the tip of your tongue to the very tip of the reed (Larry Combs would illustrate the point on the reed by drawing a dot at the center of the very tip). This is NOT a trivial point. When producing a sound (not damping the reed with the tongue) your tongue stays as close as possible without interfering with the reed's vibration. With your tongue position at the tip of the reed/mouthpiece system, the air column you have produced is now focused at that point for greatest energy (and you have the benefit of more accurate, and more controlled articulation).
To check on whether you have it correct, you should feel the clarinet vibrating under your fingers. This will occur when you are producing the right amount of resonance by using your air correctly (even at pianissimo !!!!).
..............Paul Aviles
Post Edited (2015-03-29 00:54)
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Author: TomS
Date: 2015-03-28 21:25
Rather than suggesting a specific equipment change, I'd say to at least temporarily enlist the services a a super good clarinet teacher. Your new teacher can help you with your sound, and probably has a vast cache of mouthpieces, and other items, as well as fixing your playing mechanics.
Check with nearest college or university and see if the clarinet instructor takes private students apart from their regular job. If you can find someone that is really into the art and science and enjoys teaching fundamentals, you have a winner.
You very well may be able to tweak yourself, learn how to find and adjust new reeds, etc that will accomplish your immediate goal or improving your sound.
Teacher comes first, before spending money on new gear.
Tom
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Author: feadog79
Date: 2015-03-28 22:14
Paul's comments above regarding air and tongue position are spot on...FAR more important right now than dropping more $$$ on equipment. If your instrument is in good playing condition and you have a halfway decent mouthpiece, don't buy any more gear at this time. Proper playing technique will get you the results you want.
Spend those saved dollars on a good teacher instead...you won't achieve proper technique just by reading about it. Someone needs to watch and listen to what you're doing, and make necessary corrections. It can't be overstated how important a good instructor is.
J. Wilson
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Author: Ken Shaw ★2017
Date: 2015-03-29 02:23
You must learn to make many good tones, not just one good one. Please read the article by the great oboist Robert Bloom at http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=94788&t=94788. It changed my life.
To make many beautiful tones, you must also be able to make many ugly tones. Work on them all. Snarl like a buzz-saw. Roar like a lion. Howl like a wolf. An awful squeak has the high frequencies you also use to give energy and "ping" to your tone.
Then go to the other end. Croon like a mother comforting her baby. Hum along with My Country 'Tis of Thee and Silent Night.
The sounds you can make are limited only by your imagination. That's what you want to stretch and exercise.
Ken Shaw
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