 The Clarinet BBoard
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Author: Dank
Date: 2016-04-14 07:04
I know this is a strange topic but I was curious whether there are any ways to change the "sound" of a clarinet in the way brass players can use mutes, or anything less conventional such as this:
https://www.youtube.com/watch?v=L3UvaAnqwCQ
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Author: Gouffre
Date: 2016-04-14 09:50
You could try covering one or more of the right hand side key holes with a vibrating membrane like in the Chinese dizi flute.
https://en.wikipedia.org/wiki/Dizi_%28instrument%29#Membrane
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Author: Paul Aviles
Date: 2016-04-14 15:34
The reason you can't mute like a trumpet (brass instrument) is because trumpet is a point source instrument. Woodwinds are zone source instruments. I don't really miss the notion of kicking over a mute in the middle of a quiet passage and having the whole orchestra stare at me.
..............Paul Aviles
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Author: Ken Shaw ★2017
Date: 2016-04-14 16:47
Listen to klezmer players. An open mouthpiece and a soft reed multiply the possibilities. Then listen to Turkish and Indian players.
Contemporary music routinely calls for multiphonics, whistle tones, squawks and teeth on the reed. Even without electronic modification, there's an amazing amount you can do once you get way from standard embouchure and blowing.
Play like a beginner and explore what you were taught to avoid.
Put some clay inside some of the holes or on the mouthpiece baffle. Put the top joint of your Bb on the bottom joint of your A, or vice versa. Play with the reed on top, squeaks and all.
You certainly won't use all of these when you play the Brahms Sonatas, but no professional recital will exclude contemporary music. And practicing multiphonics gives you more range in coloration even in Brahms.
Ken Shaw
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Author: Philip Caron
Date: 2016-04-14 18:24
You can get a very closed sound over some of the chalumeau range by creative fingering. Finger a low note, like E, and then open one or more holes higher up, like the throat A key or the thumb hole. The choice of open holes (and embouchure or tongue pos.) will determine pitch and timbre. The tone is covered and a bit resistant, but not unresponsive.
Throat G#: low E plus throat A key and 1st RH side key
Throat F: low E plus RH G# key and open TH
Low C#: low E plus 1st RH side key partially open
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Author: Lelia Loban ★2017
Date: 2016-04-15 18:56
Silversorcerer wrote,
>And there are these vintage reeds that have longitudinal grooves in the lower cane surface called "The Vibrator". I don't think those are made any more and I haven't found one with a good clean top. You could cut grooves in the cane to make one. I have no idea how those sound.>
Since I've found "new old stock" Vibrators in cases with old, used clarinets, I do know how Vibrators sound, and it's probably why they're no longer made! Of course it's possible that the ones I tried had deteriorated over time, but the cane looked and felt okay. But, if you're looking for a shrill, squealy sound that will make listeners jump and rub their ears violently, maybe Vibrators (or imitations thereof) would be perfect!
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: Paul Aviles
Date: 2016-04-18 06:08
There is the "old timey" growl sound that you get humming a note while you play another. Benny Goodman did that a lot in his younger years (during the early '30s).
................Paul Aviles
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Author: BflatNH
Date: 2016-04-18 19:30
Turkish players get 31 intervals/octave from a Boehm system clarinet.
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Author: KenJarczyk
Date: 2016-04-18 20:23
Please pickup a few recordings of David Krakauer. He does sounds on the clarinet that are wonderfully different!
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: Ken Shaw ★2017
Date: 2016-04-18 21:34
Bring ear plugs when you go to hear David Krakauer, and prepare to turn down the volume on his CDs. He works it up to a painful level.
Dave Tarras was the ultimate Klezmer player. He made amazing sounds with seemingly no effort and as part of his normal vocabulary. Naftule Brandwein was just as good. For more up-to-date sonics, listen to Giora Feidman and The Klezmatics.
Ken Shaw
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Author: sfalexi
Date: 2016-04-20 05:22
Ken Shaw wrote:
> Bring ear plugs when you go to hear David Krakauer, and prepare
> to turn down the volume on his CDs. He works it up to a painful
> level.
>
> Dave Tarras was the ultimate Klezmer player. He made amazing
> sounds with seemingly no effort and as part of his normal
> vocabulary. Naftule Brandwein was just as good. For more
> up-to-date sonics, listen to Giora Feidman and The Klezmatics.
>
> Ken Shaw
You know Ken, I first 'met' you around 2001 at clarinet day at mannes school of music. I might have been too nervous to say hi and introduce myself cause you had helped me so much on this board. I'm sorry if I didn't.
But I remember distinctly sitting in the room for the masterclasses, and watching as you put earplugs in when David Krakauer came up to play. I thought to myself, "Huh? He can't be that loud..."
I was wrong. MAN that guy can play loud! And his weirdly brittle and bright tone just fits his music so perfectly!!!
Alexi
US Army Japan Band
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Author: KenJarczyk
Date: 2016-04-20 07:27
Always amused when I read of Dave Tarras' reaction when the Press called him "The Jewish Benny Goodman."
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: Ken Shaw ★2017
Date: 2016-04-20 17:19
Alexi -
I remember meeting you very well. I'm sorry I didn't talk to you more, but I was so concentrated on the master classes that I couldn't interrupt my thoughts.
I had heard David Krakauer before, so I knew to bring ear plugs. His volume gets painful.
Ken Shaw
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