 The Clarinet BBoard
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Author: Tony F
Date: 2018-01-01 05:04
Is it possible to perform a convincing glissando on a plateau clarinet? I've not had a lot of success because I can't half-hole the right hand sequentially. I have no problem doing it on a conventional clarinet but my hands are becoming increasingly limited by arthritis and the day may be coming when a plateau instrument will be the best option for me.
Thanks.
Tony F.
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Author: Bob Barnhart ★2017
Date: 2018-01-01 05:25
Possibly. I learned to play the Gershwin Rhapsody in Blue gliss by dropping my jaw on the long B, creating a “sub-tone” that is nearly a whole step flat. With this sound production one can simulate a gliss with a combination of chromatic fingering and embouchure control. This does require strong breath support though.
This technique might work with other glisses as well.
Good luck!
Bob Barnhart
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Author: zhangray4
Date: 2018-01-01 08:31
In Michael Lowenstern's YouTube video (see link below) on the Rhapsody in Blue gliss, he mentions that it cannot be done on the bass clarinet, as there are no tone holes.
https://youtu.be/45XeZOfuc9c
-- Ray Zhang
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Author: Bob Bernardo
Date: 2018-01-01 09:35
Yes with some practice for a few weeks or less, not a problem. It's actually a must to learn and it's a lot of fun! You don't want to half hole. It was recently covered here about a week or 2 ago, but I like to use a wrist type of action and slide the fingers off of the keys, start with the right hand and start with sliding the fingers off of the keys. Then try the left hand and then together with the lower hand starting the gliss. Use a slightly softer reed, relax your embouchure by flattening the notes, but support the flow of the air really well. USE a MIRROR and watch your fingers move evenly as they slide off of the keys. It's kind of like the saxes. Lots of embouchure control and air movement.
I believe the trick to a beautiful sound during the gliss is relaxing the whole sinus area and HEARING the sound. Often people screw this up because the sound quality goes wacko; like playing on a 1 1/2 strength reed, it doesn't have to. It can be played beautifully.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
Post Edited (2018-01-01 22:31)
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Author: Tony F
Date: 2018-01-01 12:32
The sliding action works well for me on a normal clarinet, but I can't get an equivalent action on the plateau instrument. Maybe it's just a matter of practice, but I don't seem to be getting anywhere with it.
Tony F.
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Author: Chris P
Date: 2018-01-01 16:40
I can do a 'Rhapsody' gliss on a plateaux clarinet and an Oehler system (with the fingerplate for RH2) no problem.
No sliding fingers needed to do this as it's all in the chops, plus using a special fingering that will make the gliss from C# right to the top C in one go.
I've mentioned it several times on here and also provided the fingering for that gliss, so don't feel the need to reiterate.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Tony F
Date: 2018-01-01 19:09
Thanks Bob and Chris, I'm encouraged to learn that it is possible. I'll do some research and press on.
Tony F.
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Author: Klose ★2017
Date: 2018-01-01 19:42
Chris P,
Which fingering did you use for Oehler?
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Author: Chris P
Date: 2018-01-01 23:41
Same as on Boehm - get to the upper register C# and take your thumb off the thumb tube.
Then lip it all the way up to the top C (where it won't go any further) without lifting or sliding a single finger.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Tobin
Date: 2018-01-01 23:56
When I play the gliss the effect is created by a change in the oral cavity alone -- my fingers are not part of it. I'm confident that I can play it on an plateau clarinet.
On the bass: I have significant difficulty creating the same gliss because the bore of the instrument has so much less resistance (I think that's my issue). I'll try again tomorrow with a stiffer reed, maybe. It might be that there is more flexibility in the bass and I'm simply moving too quickly through the motion.
James
Gnothi Seauton
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Author: Chris P
Date: 2018-01-02 02:31
Tobin wrote:
"When I play the gliss the effect is created by a change in the oral cavity alone -- my fingers are not part of it. I'm confident that I can play it on an plateau clarinet."
That's how I do that gliss without even lifting a single finger. Although I said 'lip it' in the previous reply, there's more going on - hence the bit where I said 'it's all in the chops' earlier still.
Same with the 'Begin the Beguine' gliss - done with the chops more than anything no matter what key it's played in, but my preferred key to play that is Concert D Major.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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