 The Clarinet BBoard
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Author: DaphnisetChloe
Date: 2019-08-14 12:20
I am working on Premiere Rhapsodie at the moment and trying to improve the quality of my tone at pianissimo. I have found that by using maximum air support and high tongue position it makes the sound more resonant. I am wondering if anyone here has any other tips and/or tone exercises to work on improving the tone when super soft?
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Author: Paul Aviles
Date: 2019-08-14 15:13
I agree with the need for good air support. A really resonant sound requires very steady air pressure.
I would also practice a long tone exercise passed along to me by Clark Brody. Utilize your low "E" first. You start the sound by "just grabbing the sound," as soft as possible (do this by blowing but using an embouchure more relaxed than actually works and then dialing it in until the note appears from nothing). Then at a slow SLOW count (quarter note about 54 beats per minute) crescendo as you count up to the number "eight" and at "eight" you are playing as loud as you possibly can. Then count back down to "one" as you diminuendo down to nothing (not even being able to really perceive where the note ends). Fifteen counts (1,2,3,4,5,6,7,8,7,6,5,4,3,2,1) that take about fifteen seconds.
DO ALL THAT IN ONE BREATH
Perform that twice on low "E" and twice on each of the low notes "F," "F#," and "G."
You'll feel at the end of that exercise as if you'd run around the block several times. You'll also find that your sound is much more locked in and the rest of your practice session will sound better. Doing this sort of exercise regularly can be very helpful for building a solid sound.
...................Paul Aviles
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Author: Ken Lagace
Date: 2019-08-14 15:45
When I was a kid the teachers always said to 'support', but never explained what support was.
I found out when Opperman said 'fast air, so fast coming out of the bell that you can blow a piece of paper around on the floor".
So, support is blowing hard and controling the volume with the embouchure. That will get all the overtones working.
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Author: Steve Becraft
Date: 2019-08-14 23:19
When I read the subject line, I immediately said "David Weber!"
I took one lesson with him around 2000, and his daily warm-up really clarified for me how to achieve this. I've been using it ever since, and I make all of my students play it as well.
Here is the link to the warm-up that I make available on my website:
http://fac.hsu.edu/becrafs/Henderson_State_University_Clarinet_%26_Saxophone_Studio/Resources_files/Daily%20Clarinet%20Warm-up%20%28Weber%29.pdf
I hope this proves useful!
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Author: DaphnisetChloe
Date: 2019-08-15 02:36
Thanks all! I do the crescendo diminuendo exercise daily but your recommendation of doing it as slow as possible is helpful Paul, and I like the analogy of "just grabbing the sound". Ken, I'm gonna put a piece of paper on the floor today and see if I can make it move with the air from my clarinet. Thanks for the David Weber exercise Steve! I was actually given it a couple of years ago by a clarinettist who went over to the states and had lessons with some pros (I'm an Aussie). If you have any other exercises by him you would recommend that would be super helpful.
Cheers,
James
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Author: Steve Becraft
Date: 2019-08-16 05:20
Re: the David Weber warm-up, were you also given the arpeggio version?
That is the next step of control, but I haven't entered it into notation software yet! I would be happy to scan and send it to you.
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Author: Ed
Date: 2019-08-16 06:41
Make sure that your reed is not too hard. That can make the tone fuzzy and unclear, especially at soft dynamics. Use something light enough and only enough embouchure support to control the reed without biting.
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Author: DaphnisetChloe
Date: 2019-08-16 16:49
Hi Steve, I do have the arpeggio version but thank you so much for offering to send it to me! Very kind and generous of you
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Author: tylerleecutts
Date: 2019-08-16 19:48
Steve Williamson's video with Vandoren describes how he does this, very similar to what you all have been describing but requires no written music (as most good warmups do).
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Author: JosephDvorakClarinet
Date: 2019-08-23 08:46
A couple anecdotes from two members of the Philly orchestra that may help...
One told me, "pp means...'Play Powerfully!'" The other said that the sound actually needs more energy/presence the softer you play. Obviously, for Premiere Rhapsody we are often trying to use the most gossamer-like pianissimo we can, so maybe the "play powerfully" thing doesn't apply lol, but I do think that the concept of increasing the energy/presence in the sound as you get softer is a valuable one.
I second the Weber Studies...if you can get your hands on it, there is a study titled "Transition from Chalumeau to Clarion" ... not sure if it is widely available, I got it from my teacher.
Additionally, believe it or not, the Kalmen Opperman Chromatic Machine book is great for this kind of thing. You would not believe the wonders that playing a chromatic scale once forte and immediately again subito pp does for your sound in both dynamics.
Finally, make sure you have some good resonance fingerings for all of those throat tones!!! Ricardo's fingering books from Backun (if still available) have awesome lists of fingerings, including resonance fingerings for throat tones!!
Good luck!!!
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Author: DaphnisetChloe
Date: 2019-08-24 03:47
Hi Joseph - thank you for your advice! Where would I be able to find the "Transition from Chalumeau to Clarion" study you mentioned? Is it part of a book?
Thanks a heap!
James
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Author: JosephDvorakClarinet
Date: 2019-08-24 09:44
James,
It's not in any books in publication that I know of. I have it from a packet that my teacher got from David Weber
Gotchu right here man- https://drive.google.com/file/d/1Z7tLttxT-Fu4qg-JZQtYZPJH1mBFw4ld/view?usp=sharing
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Author: tdufka
Date: 2019-08-27 01:03
Thanks to Joseph Dvorak for the "Transition form Chalumeau to Clariion" study. Fantastic!
I would use a second helping of that sort of thing, if there is more.....
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