 The Clarinet BBoard
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Author: Thoru
Date: 2019-09-20 18:28
Hi,
I often find it difficult to go from the clarion register to the altissimo register while playing. Playing isolated notes in the altissimo register is not such a problem.
The more notes or musical complexity (and the larger the distance between the notes) before the switch in register the more difficult the switch becomes.
Are there any tricks or exercises to improve the ability to switch the register while playing?
Thanks in advance.
Kind regards,
Thoru
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Author: Paul Aviles
Date: 2019-09-20 19:24
I try to be aware of the fact that there is a difference in air intensity moving from the chalumeau to the clarion, and another furthering of intensity from the clarion into the altissimo. Though we work to smooth out the sound so that musically it is seamless, maintaining awareness of this helps me out.
..............Paul Aviles
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Author: Philip Caron
Date: 2019-09-20 20:37
Are people implying that when alternating between registers, back and forth at a relatively rapid rate, they need to keep alternating how quickly their diaphragm is relaxing?
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Author: kdk ★2017
Date: 2019-09-20 20:54
Philip Caron wrote:
> Are people implying that when alternating between registers,
> back and forth at a relatively rapid rate, they need to keep
> alternating how quickly their diaphragm is relaxing?
Not in my experience.
Karl
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Author: Paul Aviles
Date: 2019-09-20 21:03
Well I guess If I think about it, we do assert the higher note more. The higher notes in a series then become somewhat like "marcatos," a burst of energy followed by less intensity for the clarion note(s) then another burst for the higher note.
I would defy you to say that altissimo notes "just happen" without doing something.
................Paul Aviles
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Author: kdk ★2017
Date: 2019-09-20 21:38
Paul Aviles wrote:
> I try to be aware of the fact that there is a difference in air
> intensity moving from the chalumeau to the clarion, and another
> furthering of intensity from the clarion into the altissimo.
>
> I would defy you to say that altissimo notes "just happen"
> without doing something.
>
We all have our own witchcraft in dealing with altissimo and moving from one register to another. For myself, I find it more effective to avoid any change other than moving my fingers when playing over the clarion-altissimo break. But I say that with caveats:
1. I do try consciously to prepare ascending over the break by setting my embouchure and the inside of mouth as I will need to have them for the altissimo notes **while I'm still in the clarion area.** What I find important isn't that the altissimo notes require anything different, it's instead that I don't want to make any needed change **as I go over the break.** Ideally, with a good reed, the differences for small intervals - e.g. stepwise passages - are minimal and I'm accustomed enough to accommodating them that I no longer do it consciously.
2. The greater the interval, the more conscious I am of the preparation while playing the lower (clarion) note. It's changing things too late that causes more trouble than not making the needed changes at all.
3. Descending over the break, in my experience, is even more dependent on not changing anything while making the transition. Again, I won't insist I *don't* do anything, but any change is subtle enough that I don't notice or feel it. Any *conscious,* deliberate change in air or embouchure or even internal mouth shape is, I find for myself, more likely to cause a change in sound, a break in legato and even potentially a squeak.
What the reed needs most for any interval is steadiness and consistency from one note to the next. Making deliberate changes **as you change from one note to the other,** regardless of register, is in my personal experience better avoided as a general rule.
Karl
Post Edited (2019-09-20 21:43)
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Author: Plonk
Date: 2019-09-21 01:54
Karl,
While I don't disagree with most of what you say, are there not occasions when you have to do *something* more than change fingers? Slurring down from top F to the Ab a 6th below springs to mind. If I simply add my 1st finger for the Ab, the top F continues (out of tune) so I have to "think" the Ab with my diaphragm and voicing or it won't sound. What do you do?
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Author: kdk ★2017
Date: 2019-09-21 07:11
Plonk wrote:
> Karl,
> While I don't disagree with most of what you say, are there not
> occasions when you have to do *something* more than change
> fingers? Slurring down from top F to the Ab a 6th below springs
> to mind. If I simply add my 1st finger for the Ab, the top F
> continues (out of tune) so I have to "think" the Ab with my
> diaphragm and voicing or it won't sound. What do you do?
Usually lightly touch the reed with my tongue. Slurring to a lower harmonic in the same series (such as F6 to Ab5) is, I think, a special case, though.
And, again, it isn't that I do nothing to cross breaks. Whatever I do, it's done before I make the leap, during the lower note. If the notes are going by quickly, I still set up (air, mouth and embouchure) for the higher note while I'm in the lower register. For me it's a matter of preparation.
Karl
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Author: Mojo
Date: 2019-09-21 14:42
I think practicing overtones helps with voicing these notes. I did this more on sax than clarinet. I find it easier on sax compared to the larger intervals on clarinet.
MojoMP.com
Mojo Mouthpiece Work LLC
MojoMouthpieceWork@yahoo.com
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Author: Thoru
Date: 2019-09-21 16:09
Hi all,
Many thanks for the responses.
It’s very interesting to hear how other people tackle this “problem”.
I’ll try to find out what works for me.
Kind regards,
Thoru
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