 The Clarinet BBoard
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Author: Jordan Selburn
Date: 2020-04-13 02:00
I've been trying to make the best of this shelter-in-place by working on some new music, and tearing down some fundamentals as well.
Even after 5+ decades of playing, one area where I've always had some issues is in the altissimo, frequently overshooting the partial. For example, in the solo at the end of "Night on Bald Mountain", the clarinet solo goes from E5 to E6, and I'll not-infrequently squeak out an A6 instead, especially if I try to slur it. Even just going from C6 to D6, it'll sometimes jump to G6 instead.
It's not setup related - many clarinets, many mouthpieces, many reeds, same issue. I can warm up on "bugle calls", starting on C4 and vocalizing up the partial series to G5, E6 and A6 (though only beyond that twice) and generally pick out and play whichever partial I want. I can play up to C7, though the tone starts to degrade significantly beyond the G6. Don't think I'm pinching or biting to hit the altissimo notes, but who knows?
Now that I have the opportunity to fix this, any suggestions for things to try, exercises to work on? All thoughts greatly appreciated!
Jordan
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Author: Paul Aviles
Date: 2020-04-13 02:24
For me the altissimo became much more stable as I was able to use a "relaxed" embouchure throughout the horn's entire range. When I was a rabid biter, hitting a "C" five ledger lines above the staff was either impossible or it involved a very bruised lower lip!
Also you can try holding down different vent keys for the "E" in your first example. I've been using the "C" key rather than the traditional "Eb" key for most of the standard altissimos (besides the second ledger "D"...."Eb" key or none at all). Or you can try using the "B" key for the third ledger "E." That one is slightly flat, but almost completely "leap proof."
............Paul Aviles
Post Edited (2020-04-13 02:25)
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Author: bmcgar ★2017
Date: 2020-04-13 02:55
As Paul writes, relaxed embouchure is the key, and that you're likely pinching.
Right on, Paul.
A good exercise (and also a helpful technique) for many intervals in the altissimo is to "half-hole" with the LH index finger.
As an example, play the 5th line F, then "roll" your LH index finger slightly off the tone hole WITHOUT CHANGING YOUR EMBOUCHURE. The resulting D should speak immediately, though you'll surely have to use the Eb/D# key to get it in tune. Or try the clarion G to altissimo E.
It takes a little practice...but not much.
Half-holing works with many intervals up there, and not only comes in useful for many notes, but also will help you believe that you don't really have to "reach" for all those high notes; that they'll speak for you without straining.
B. (who has become convinced that 90% of playing problems result from tension or fear)
Post Edited (2020-04-13 02:57)
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Author: Bob Bernardo
Date: 2020-04-13 03:07
I might be a combination of a few things. My guess is you are playing on an R13? Let me know. On a lot of R13's this is common for some strange reason, both older and new horns. I'm really not sure what the cause is, if it's the tube in the octave key, your mouthpiece, or your embouchure. Your throat closing up and a slight pinch, biting down, maybe your embouchure can cause this. Also the R13 barrels may not be made correctly.
Above - Paul has a good idea to be a bit more flexible. Anyway, your problem is not new, meaning this is actually more common than we think and talk about. When I switched from R13's to the Yamaha CSVR that totally went away. No more overtone issues and I found myself attacking notes instead of holding back, a minor fear a few players may experience. I haven't tested too many horns since that search I did around 4 years ago, when looking for a new set of horns. There are other horns that should really help you out.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: kdk ★2017
Date: 2020-04-13 04:15
Excessive tension is certainly a major possible cause of altissimo issues, as is an unbalanced or unresponsive reed (which will itself encourage tension).
As far as that E5-E6 leap in Night on Bald Mountain goes, half-holing to start E6 works, but some players keep the G5 fingering and open the throat G# key. It needs to be controlled a little, but it speaks very easily, similar to "closed" F6. Pinching will drive it sharp, so in a way it can be useful in detecting and eliminating any excess pressure you've been in the habit of using up there.
Karl
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Author: fernie121
Date: 2020-04-13 06:18
Flexibility should come from the air and tongue position, not from the embouchure imo. Make sure your reeds are balanced, otherwise it’s near impossible to have any real control in the altissimo. I think when people talk about tension in the embouchure they are talking about mostly biting. The embouchure should always be firm and well formed. But you shouldn’t bite. Again, if your reeds are not in good order it’s difficult to have control without biting.
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Author: Tom H
Date: 2020-04-13 07:37
The embouchure and pinky alternates may be good ideas. Also try gradually sliding, or more precisely, rolling the top left hand finger off the hole during the transition.
Don't think I agree with Bob about the R13. I've had 3 of those and would be willing to bet that with minimum concentration I could do that E to E slur without squeaking to a higher note 100 out of 100 times.
The Most Advanced Clarinet Book--
tomheimer.ampbk.com/ Sheet Music Plus item A0.1001315, Musicnotes product no. MB0000649.
Boreal Ballad for unaccompanied clarinet-Sheet Music Plus item A0.1001314.
Musicnotes product no. MNO287475
Post Edited (2020-04-13 20:54)
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Author: Bob Bernardo
Date: 2020-04-14 00:06
Hi Tom, it's fine to disagree of course, we need this to try and zero in on the cause. For me this was a personal issue and experiences with the R13's. I didn't have any trouble with other horns, such as the Selmer Signature's, Yamaha's of course, since I play these now and an old Selmer 9* was also fine.
Cheers! Great comment Tom.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: donald
Date: 2020-04-14 01:38
There is an excellent book by Norman Heim - "Development of the Altissimo register". Get that, start from the beginning and play 10-15min from that book every day. The studies near the end aren't that fun to play- but I've found the first half of the book to make a huge impact on my students, and getting them to play that saves heaps of lesson time (ie- they just get better at the Altissimo register on their own, so I don't have to use lesson time helping them every time they get a high note).
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Author: Tom H
Date: 2020-04-14 07:25
Right Bob. I have overshot a note a few times over the decades but that was due to stupidly overblowing. Then you feel like an idiot....
But, I saw a video 3-4 years ago where one of the all time great players squeaked playing a really easy solo with band accompaniment, so I don't feel too bad...
The Most Advanced Clarinet Book--
tomheimer.ampbk.com/ Sheet Music Plus item A0.1001315, Musicnotes product no. MB0000649.
Boreal Ballad for unaccompanied clarinet-Sheet Music Plus item A0.1001314.
Musicnotes product no. MNO287475
Post Edited (2020-04-14 07:26)
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Author: Bob Bernardo
Date: 2020-04-14 23:29
Thanks Tom! Good post as usual! I'm smiling as we've all messed up many times!
Take care my friend!
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: Jordan Selburn
Date: 2020-04-22 04:21
Thanks to all of you for your suggestions! I've been focusing a *lot* on this the past week, and think that tension is probably responsible for most of the issues. I feel relaxed but even the slightest bit of throat constriction/biting can lead to jumping to the next partial - it's just so easy to overshoot.
Switching to double lip would almost certainly fix things but I expect that would take a great deal of time. In the meantime, I've ordered the Heim book and will work on that when it arrives.
As an aside, it's not a Buffet issue. I haven't played a Buffet in over 20 years. I recently switched from Yamaha CSG to Schwenk & Seggelke.
Jordan
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Author: EbClarinet
Date: 2020-04-27 18:16
You might think about taking it down and octave just 2 play it. I've run n2 the same problem on Eb Clarinet on xmas music. I had an A above the staff slurred n2 a high F with 16th notes and it just wouldn't come out so I took down an octave just 2 play it and no 1 was mad!!!
A good clarinetist college friend of mind recommended that I lightly tongue the altissimo note in order 2 play it.
Some good exercises to "remedy the problem" is 2 practice good breath support by playing octaves and blowing up to it until u get comfortable with this, then once you've learned/felt what this is like, then u could play it.
I also play Eb Sopranino sax and have this similar problem with the octave key. It doesn't need 2 open much 2 get the octave out but I realize it's just me learning to blow up 2 the notes. A Ph.D saxophonist has this same problem. I've learned 2 lip it up.
Hope this helps.
https://www.tapatalk.com/groups/mbtldsongministry/
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