 The Clarinet BBoard
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Author: locke9342
Date: 2016-07-12 19:27
How do you play the notes above the high G? I can play comfortably play up to the high G and can hit the A, but anything above that is a loss for me. There are so many fingerings to try and almost all of them don't work. When do you get to the point at which you put your teeth on the reed? I have no instruction at all in this register, so any exercises or advice would be helpful. I tried using search, but did not find anything immediately, so if anyone could link anything that would be appreciated.
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Author: Philip Caron
Date: 2016-07-12 20:38
Teeth are not necessary for the notes you're talking about. If the air stream is good, the tongue position is right, and the embouchure is right, then no intense effort is needed, no great pressure or tightness or change-up for those notes; they'll play easily and naturally.
Keep the tongue arched almost to touching the top of the mouth, the front upper gums, and the back of the throat - not rigidly, but actively held. I think I also bow it up the middle slightly, to make the inside chamber more tube-like, not just for high notes but all notes. Which is about making a good vibrating air stream.
The reed needs to be well balanced and with some resistance (slightly on the stiff side.)
If you have clear and beautiful altissimo, it seems to go along with clear and beautiful sound elsewhere. So, as in many things, it's all about sound.
After 10 years of unstructured self-teaching, I'm pretty reliable up to E7, and now include through G7 or A7 in daily practice. No teeth, though maybe they'll be needed higher up. I remember being exactly where you are now. Do note, though, that a good teacher will undoubtedly help you get this better faster.
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Author: Wes
Date: 2016-07-12 22:41
Some mouthpieces do not work up there above G because they are not properly finished. Mostly, the tip area may need work. The tip and side rails may be too wide or the facing curve into the tip may be a little off. The reed must also not be too soft. The teeth on the reed is not needed but the air must be focused. Good luck!
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Author: pewd
Date: 2016-07-12 23:29
What kind of mouthpiece and reed are you using?
And how long have you been playing clarinet?
- Paul Dods
Dallas, Texas
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Author: Ken Shaw ★2017
Date: 2016-07-12 23:33
Once again I recommend the swab-up-the-bell exercise.
Stuff a cotton swab up the bell, finger middle B, take plenty of mouthpiece and blow (hard) until you can sustain 4th space Eb.
Then find the Bb above, then Eb, G and Bb. You move from one note to the other by varying your tongue, palate and jaw position. Practice playing bugle calls until you're comfortable voicing each note.
Then pull the swab out. (You'll be surprised at how loud you play.)
Start by alternating between E6 ![[E6]](http://test.woodwind.org/clarinet/BBoard/smileys/e6.gif) and A6 ![[A6]](http://test.woodwind.org/clarinet/BBoard/smileys/a6.gif) . It's all in the voicing.
Double lip helps, or at least plenty of upper lip pressure downward on the top of the mouthpiece.
Ken Shaw
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Author: WhitePlainsDave
Date: 2016-07-13 01:06
To elaborate on Ken's point, I am of the school of thought that suggests first ruling in that players are taking in enough mouthpiece.
This of course begs the question as to how much mouthpiece is the proper amount to take in.
Towards determining this amount, I'd play, grabbing more and more mouthpiece until you squeak.
Back off from that point minutely (MYNOOTLY).
That's where you should be. I'm afraid too many players don't take in enough mouthpiece.
This should help you get to C7...![[C7]](http://test.woodwind.org/clarinet/BBoard/smileys/c7.gif)
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Author: locke9342
Date: 2016-07-13 02:02
I use a Pyne med close bel canto with 3.5 v.12. I've been playing technically for 5 going on 6 years now, but have only been serious for the last 2. (I started off using double lip for the first few years, so it took me a while to undo bad habits)
If its any indication of my skill level, I just played my first real piece with moderate success the weber concertino, I know 12 scales, and I can gliss. The last one may not be an indication of my skill level, but I"m proud anyway.
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Author: Ken Shaw ★2017
Date: 2016-07-13 02:11
Please explain why playing double lip is a "bad habit." While you're at it, let us know how it interfered with the playing of Harold Wright.
Ken Shaw
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Author: locke9342
Date: 2016-07-13 02:47
I wasn't doing it properly and I was also tonging not on the read.
Also it's not really relevant to this thread
Post Edited (2016-07-13 04:19)
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Author: 2cekce ★2017
Date: 2016-07-13 04:04
What has worked for me is constant use of the upper altissimo as I was
instructed by the director to play my part up an octave, so kinda just got
used to doing it for years. this enable me to hear the notes and know what they
should sound like. I've gotten up to C# but that is high as I can comfortably
go without the squeaky sound. I also play the effer so I'm used to playing
in the stratosphere. I use closed tip mouthpieces with 3 or 4 on reeds. I listen
and use proper breath control to get those notes to speak.
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Author: ned
Date: 2016-07-13 04:59
''Also it's not really relevant to this thread''
Perhaps not but maybe...possibly? In any event you could have answered briefly, just to be polite.
One thing leads to another, as well we know when in the search for answers, so allowing others with more experience to elaborate is no bad thing.
You DID start this topic I notice.
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Author: locke9342
Date: 2016-07-13 05:21
"I wasn't doing it properly and I was also tonging not on the read."
The first thing I did was answer.
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Author: SarahC
Date: 2016-07-15 15:41
i second the use of the bugle calls/harmonic series to aid in learning the tongue flexibility to get those notes.
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Author: WhitePlainsDave
Date: 2016-07-15 19:10
My take
OP locke9342, I think, made it clear that *his* double lip was lacking. This is the bad habit I glean he discusses; not that double lip play is in any way bad. In fairness, he didn't make that clear at first, but did so in a follow up above.
Ergo, I'm sure we all agree, OP included, that fantastic players have and can come from both single and double lip schools of play.
locke9342: has taking in any more mouthpiece been at all useful (curious)?
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Author: locke9342
Date: 2016-07-16 01:13
Taking more mouthpiece makes playing much the altissimo easier, but I can't really play anything lower. Although taking more still hasn't let me play higher than an A
My band director has always made a big deal of taking enough mouthpiece, so I think I"m taking enough.
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Author: Burt
Date: 2016-07-16 01:58
The reed matters, also. As much as I like Legere reeds (Signature 3.75), I have trouble above A (5th space above staff), while with a cane reed (Canyes 4), I reach C easily and have some degree of control up to D. Fortunately, not much is written above A.
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Author: sfalexi
Date: 2016-07-16 22:10
Reed size and choice seems to be the deciding factor for me. I currently use size 3.5+ rue lepic and I like it. It's comfortable, I prefer a reed just a TAD bit lighter than what I consider "perfect" on my mouthpieces because it seems to be easier to control and I get less squeaks and need less adjustments on it.
But even between the 10 rue lepic 3.5+ that I use, some will make the upper (extreme?) altissimo easier than the others.
Going into the altissimo at all, and ESPECIALLY at A and above, I would say the #1 thing that helped me is airspeed and a loose embouchure. I found that for me to have the best tone and consistency, I need to have a LOOSER embouchure and much faster airspeed the higher I go and a FIRMER embouchure and not necessarily as fast airspeed the lower I go. It's a little backwards from what I used to do (I used to bite the reed to play altissimo and really loosen up to play low notes), but this makes it easier and makes the tone more pleasant. Well, as 'pleasant' as you can be when playing a double high C or C#, or D!
US Army Japan Band
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