 The Clarinet BBoard
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Author: Rina
Date: 2001-05-05 00:47
I have a student who used to play oboe and was started on #1 reeds by another teacher. In my professional opinion, this is the stupidest thing to give to anyone, and I am truly sorry that such weak reeds are manufactured, but I'll get into that debate another time.
Anyway, she plays with a very weak embouchure, and I've tried a number of tricks to encourage her to firm up, and even to project more air through the instrument. (1 - blowing only on mouthpiece to produce a top C, she is only producing a top Bflat; 2 - talking about making the sound go across the football field; 3 - explaining that her embouchure is weak and she needs to make sure it is firmer if she's going to get a good sound)
All this hasn't helped. 12 weeks down the track, she is still producing a weak, flat sound, and as a result her clarion notes above F aren't sounding because there isn't the right air pressure to produce the sound.
Any suggestions to tell her how to improve (short of reccomending a change to flute?)
R
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Author: Gretchen
Date: 2001-05-05 01:05
You could always put her on harder reeds. It may seem to some as if I'm suggesting you put the cart before the horse, but to get a sound on a harder reed you must blow harder. Since she is still a beginner, a Vandoren #3 would be plenty hard for now. With time her embouchure will build up as well.
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Author: jbutler
Date: 2001-05-05 01:56
1. Have her use a harder reed as suggested above.
2. While she is playing long tones grab ahold of the barrel. Shake it lightly, so as not to damage the teeth, lips or gums. While doing this see if you feel the teeth on the top of the mouthpiece.
3. Have her use an embouchre that pulls the chin down. I often tell student to pretend they are sucking a malt or shake through a straw....and then use that shape, with the chin drawn flat, while putting the lower lip against the teeth.
4. You're on the right track working with the mouthpiece...I usually work with the mouthpiece and barrel. This gives added support.
5. Long tones and then slowly work the 12ths from the lowest tone she can produce upwards.
6. Try to keep your patience!
John
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Author: bob gardner
Date: 2001-05-05 02:30
Tell her to try and blow out a candle on the floor. More air to do the job.
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Author: Anji
Date: 2001-05-05 15:05
Double-lip, anyone?
I wouldn't sweat the reed strength gremlin for now, pull the mouthpiece and barrel off the horn for some remediation.
With a double-lip embouchure, things will settle into place in about a week.
Get the horn out of the picture for awhile and work on THE fundamental.
I strongly recommend the Legere synthetic reed for at least the first month, although Oboe players are well accostomed to reed worries.
Forget about the prior teacher, concentrate on the kid.
anji
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Author: William
Date: 2001-05-05 16:16
I once was told that Gus Langenous got "the biggest sound" in New York City and that he played on #1 reeds. I also remember reading the same info about the famous old New Orleans jazz player named "Faz"--Pete Fountains mentor. I believe that both of these great "older" clainetists were double-lip players like many contermporary greats. Perhaps the oboe-playing clarinet teachers past clarinet experiance was with an orchestral double-lipper, thus the basis for the #1 strength recommendation. Be that as it may, as you are dealing with a beginner, I would "up" the reed strength to at least a 2.5, stress a conventional embouchure (double-lip may too much "too soon" for this beginner), try the barrel-mouthpiece combination and the "wiggle" trick. Also, try adding a bit of upward pressure to the thumb rest while the student is playing the assembled clarinet. Often, a beginner, because of the weight of the instrument, will not extert enought "lift" with his/her right-hand thumb, resulting in a weakened embouchure and poor tone quality. Above all, be patient, and Good Clarineting--Beginner-Style!!!!
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Author: Bob Curtis
Date: 2001-05-05 22:51
All of the above suggestions are good, but don't be in any too big of a hurry to get into too great a strength of reed just yet. Let them grow to it because the student has to develop a "new" set of muscles and an entirely different way of using these muscles than on Oboe.
Check the student's diaphragm control and tightness closely. I have noticed that most early students do not have a good concept of just what this is. I have found that the following example generally works well for my students.
(1) Have her place one hand on their stomach, the other in front of their mouth, and then cough HARD.
(2) Ask her what she felt. If she replies that herr stomach got tight, then ask her if she is holding hers that tight when she plays? If not, she need to do so.
(3) Have her try to push on your stomach with one finger (better be firm!) when you set your diaphragm to see if she can push it it.
They generally get the idea when you do this. It usually gets across the idea of TONE SUPPORT and this will help them in their tone production. No firmness, tone is very weak ? more support and the tone gets better. Try it.
Bob Curtis
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Author: Rina
Date: 2001-05-07 01:42
Thank you muchly. I had already put her on 2 1/2's but the other suggestions I will definately try.
R
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Author: Mike Irish
Date: 2001-05-08 04:35
I hope I am not out of line here.....
when I started doubling on oboe.... I ended up going to a stiffer reed for the clarinet... my muscles developed better, and was able to use the heavier reeds alot better then the lighter reeds..... had better tone quality, and more stamina in playing....I am currently using #3 Mitchell lauri ( sp ) for my Bb..... and a Med to med hard for oboe......
my son is 4th year clarinet, and first year oboe.... he is using a 2.5 mitchell lauri for clarinet and a med soft to med oboe.....
I personnaly do not know of an instructor that wants them on anything less then a 2...
my youngest son, was using nr 2's for his alto sax, and was splitting reeds a couple a week...... went to 2.5's and that problem decreased..... now one reed will last quite some time....
Mike
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