 The Clarinet BBoard
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Author: SecondTry
Date: 2023-07-15 01:37
I'll call the second break the one between B5 ![[B5]](http://test.woodwind.org/clarinet/BBoard/smileys/b5.gif) and C6 ![[C6]](http://test.woodwind.org/clarinet/BBoard/smileys/c6.gif) .
Maybe there's another name for it, but that said:
as many of us know, this gap is quickly bridged in the Mozart Clarinet Concerto at measure 199 when we move quickly between Bb5 ![[Bb5]](http://test.woodwind.org/clarinet/BBoard/smileys/bb5.gif) and D6 ![[D6]](http://test.woodwind.org/clarinet/BBoard/smileys/d6.gif) .
This I can handle. But in the otherwise beautiful Mangani Sonata, at measure 137, the player is taxed with the larger B5 to E6 ![[E6]](http://test.woodwind.org/clarinet/BBoard/smileys/e6.gif) gap, in addition to, at measure 141, an A5 ![[A5]](http://test.woodwind.org/clarinet/BBoard/smileys/a5.gif) to D6 gap--just a tad more than the Mozart requires of us.
These gaps occur around this point in the piece https://youtu.be/LtI14mIhP40?t=145
Does anyone have advise for mastering these gaps? It's a wonderful piece; do check it out if unfamiliar. I think everything Mangani publishes for clarinet is quite melodic. A clarinet player himself, he definitely, IMHO, knows how to write for the instrument.
TIA
Post Edited (2023-07-15 01:39)
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Author: donald
Date: 2023-07-15 02:17
Mastering THIS break will help you tone- especially the articulation in the upper register (and help remove GRUNT in the left hand articulation)
- the secret is to control AIR SHAPE and AIR SPEED using your oral cavity and tongue position, NOT restricting the air in the throat.
Say "heeeeee" and feel how tense your throat gets with all the "eeeeees". This tension in the throat is DEATH to the "upper break", and not great for tone in general. (another vocalisation I use to demonstrate this is to go "ih, ih, ih, ih")
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Author: Clarineat
Date: 2023-07-15 02:42
I was taught to go from B to altissimo notes that you sort of slide the first finger down while transitioning up to the other notes to smooth it out.
I consider the second "break" to be the point where the altissimo starts, from C and C#, though.
What is the logic behind calling B the "break"? Is it because of this technical challenge identified?
Sean Perrin
Host of the Clarineat Podcast
Listen FREE at www.clarineat.com
hello@clarineat.com
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Author: lydian
Date: 2023-07-15 02:58
I don’t have any advice, but I’m scratching my head over the B-C break as well. Seems like it should be C-C#.
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Author: Paul Aviles
Date: 2023-07-15 03:40
It also may be helpful to keep the open D in mind (no fingers). If that is a little low for you, you can add the lowest side key, or last two side keys).
Also for those of you with more manual dexterity in your thumb, I like the first finger C# with just the register key (and no thumb hole) under certain circumstances. It is full, in tune and preferable in some situations. Of course we don't typically come off the thumb hole and keep the register. This can take a little getting used to.
[sorry, had to edit above, was NOT referring to another D as originally stated but the C# two ledgers above the staff]
..............Paul Aviles
Post Edited (2023-07-15 04:58)
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Author: Hunter_100
Date: 2023-07-15 04:36
You can play the altissimo E and keep the left hand index finger down as long as you voice it up to the E and not to the lower down clarion G. This makes going from B to E very easy. It is harder to go the other way though with this fingering, at least if has to be slurred.
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Author: donald
Date: 2023-07-15 05:01
B-C# and C-D are both problematic, and present similar problems so a bit silly to be pedantic about "where" the break starts.
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Author: Paul Aviles
Date: 2023-07-15 05:09
and hopefully I have the right notes in mind now
I don't think or speak of 'BREAK.' The issue is similar (almost identical to that of moving from throat Bb to third line B natural......shortest to longest tube notes). You need to put more air energy into the move upwards. It's similar to playing recorder where there is no octave key. There is an exercise that helps with this. Play your low G (sitting below the second ledger below the staff). Now as you play that note, try to leap up to the 12th above (the D on the fourth line of the staff). It may help to start on the twelfth above and hold it while closing the register (same thing.....backwards). You should be able to do this with the notes further up the horn up to throat F and the top clarinet C. Successfully getting this exercise to work with ease should clear up ANY issues with leaps.
................Paul Aviles
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Author: Clarineat
Date: 2023-07-15 18:25
While I agree that the "break" is mostly an imaginary technical challenge, the change in registers that it references on the instrument is not only an important consideration for analysis, pedagogy, and performance, but occurs in an objective place both times. I think it's important not to use the term arbitrarily, and I'm certain this discussion is not "silly and pedantic."
Edit: I was thinking about this and the "break" does, in fact, have two meanings depending on who is talking about it and the context: the location of the register change OR any change from one register into the other at any point, hence how it was used above. Since I almost never use this term and prefer the term register change, I often only consider the "break" the point where the range changes.
Sean Perrin
Host of the Clarineat Podcast
Listen FREE at www.clarineat.com
hello@clarineat.com
Post Edited (2023-07-15 18:38)
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Author: Tom Piercy
Date: 2023-07-16 05:59
Hey Sean,
Exactly - there are Register Changes on the clarinet. One would hope for no breaks.
I don't use the term "break" as Register change is more accurate and less frightening to talk about. Who wants to talk about "going over" a break - or talk about "the break" in a clarinet. You're just playing through a register change. Words matter.
I've tried to get others to change from "break" to "register change." I wrote a long article about "There Are No Breaks In the Clarinet." Cracks for sure. 
As you wrote, one should not be arbitrary about what or where the register change is.
Tom Piercy
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Author: donald
Date: 2023-07-16 06:00
Well, here is a fact for you- B to C# is crossing between registers, just like C to D. Do you really feel like arguing about that FACT?
Btw- obviously there are instances where you CAN'T slide your left hand index finger when crossing into the altissimo (too many to count in the standard repertoire)
AND YET, you still have to be able to do it (cross between registers) smoothly and with timbral control and balance. So while it's a useful technique (sliding the index finger) it can't be relied on as an "answer to the problem" (as it only solves the problem some of the time, what are you going to do the REST OF THE TIME?)
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Author: lydian
Date: 2023-07-16 06:33
Well, fact is the OP said the break was between B and C natural. Last time I checked, that involved lifting one finger. Not much of a break. The error has already been addressed. You’re the one who won’t let it go.
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Author: Paul Aviles
Date: 2023-07-16 06:34
Well, for example there is the fingering I speak about above for the C#.......no break.
And that's even before we mention the first two side keys for C# as well, or the third side key for the D.
I love arguing absolutes, because there aren't any.
...................Paul Aviles
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Author: JoeRomano
Date: 2023-07-17 05:49
My two cents: it's important to not stress and to be very relaxed. Before even attempting to play it, finger the notes as quietly with as smooth a transition as possible. This is not the only solution because one does need to. consider air flow and tongue position, but if your hands are tense, so will your throat.
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Author: belowbee
Date: 2023-09-07 08:18
According to what I've learned, the best way to transition smoothly from the note B to the altissimo notes is to sort of slide the first finger down as you move up to the other notes. In some situations, the first finger C# with only the register key (and no thumb hole) is what I prefer. It is resonant, rich, and in some circumstances preferable. Of course, we don't usually remove the register while still using the thumb hole. Some getting used to may be required
Post Edited (2023-09-07 08:19)
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Author: lmliberson
Date: 2023-09-08 00:20
belowbee said:
"According to what I've learned, the best way to transition smoothly from the note B to the altissimo notes is to sort of slide the first finger down as you move up to the other notes."
More like "rolling" the first finger downward rather than sliding to make a (hopefully) seamless legato to the altissimo. Maybe that's not the best terminology - but it is effective.
"In some situations, the first finger C# with only the register key (and no thumb hole) is what I prefer."
Hmmm...and where exactly would you find that to be a "better" fingering than the so-called "standard" fingering?
"It is resonant,"
Not particularly.
"rich,"
Nope.
"and in some circumstances preferable."
Next to never.
Well, unless one chooses a fingering for its thinness and faulty intonation - then, sure, why not?
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