 The Clarinet BBoard
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Author: sfalexi
Date: 2002-10-06 04:49
I am using a Gigliotti P mouthpiece and apparently the mouthpiece goes well with Vandoren V12's (so I've heard.) Here's my problem.
I am using a size 3 v-12. I get very clear crisp notes on the lower register and just over the break up until I hit about an A over the break. Then I either get a huge throaty "ehhhhh" (you know what I mean, kinda like when you don't get enough air going or something), or it comes out way too loud. I need to play certain pieces softly.
However, when I switch to a size 3 1/2 reed, the upper notes come out beautifuly. Well, not exactly beautifully, but I can control their volume and they sound nice. However I then I have trouble playing the lower notes, from about C down to low F. It takes a lot more air then usual to get it out and it doesn't sound nearly as crisp as when I use the softer reed.
Can anyone offer a solution or at least diagnose the problem so I'm not going crazy here? I was wondering how I could either get the size 3 to work in the upper register or how to get the 3.5 to work well in the lower. Unless there's other tricks. Thanks in advance for your advice.
Alexi
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Author: John O'Janpa
Date: 2002-10-06 11:13
I don't know the "whys", but I have found, at least for me, that reed and ligature position make differences.
Moving a soft reed higher on the tip of the mouthpiece makes it play as though it's harder.
Moving the ligature higher seems, for me, to favor the higher notes,
moving it lower favors the lower notes.
If I were you, I'd try using the 3 reed slightly higher on the tip, and moving the ligature higher also.
Obviously what works for me and my set up, might not work for you, but
you may find your solution by exprimenting with reed and ligature placements.
John
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Author: Hiroshi
Date: 2002-10-06 12:16
Your register cork elevation is too bigAwhich is typical to any newly purchased clarinets. Too much air is dispersed from the hole.
Experiment what happens if you patch a vinyl tape where register
key end touches the clarinet wall.
My memory says Mr. Tony Pay recommends somewhere 0.65mm, whereas Mr.Tom Ridnour somewhere 1.2mm in Klarinet mailing list.
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Author: d dow
Date: 2002-10-06 13:28
Dear Alexi:
One thing I noticed is that a you mentioned a 3 V12 reed with such a closed facing a the P of the Gigliotti may be just too soft to get a nice clear even upper register.
I definitely think that this reed is far too light for such a closed type mouthpiece and it would be better to adapt your 3 1/2 reeds than try to get the 3s to work.
Apart from the above, I would also like to say some guidance from a teacher or colleague on working on air and air column support may make a difference. Also make sure the cork seal on the vent register key is okay, and check for gunk in the register key hole. I have also seen some of the vent tubes fall out with just mild pressure due to changes in the wood. It is also that time of year when wood tends to change a bit due to cold weather. If none of the above works-bring the clarinet into a fine repairman.
Sincerely DD
ST. John NB
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Author: Bob
Date: 2002-10-06 13:50
Interesting comment,Hiro, I have always assumed the register pad clearance doesn't matter...in fact thought the more open,the better. Thanks to you and Tony.
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Author: Hiroshi
Date: 2002-10-06 14:39
Bob
I only transmitted what I learned from professionals' comments.
Tony Pay is a famous English clarinetist by the way.
This surely makes the middle brake more smooth and kills queer subtones heard after middle brake.
Regards,
p.s.
I also learned that after making the clearance as such, if you make cork hole shape more suitable, it makes better.
The hole shape should be reverse conical. Not just a simple hole.
This has two effects:
1)When the cork is closed, this improves sealing since the cork/seat
connections is interfacial, whereas ordinay non-adjusted hole's
sealing becomes less stable by the slight movement of the cork.
2)The air from the hole is more dispersed from the hole and less reflected back to the hole.
Another way is to change the register tube to a reverse conical one,
not a straight. This needs a consultation of a knowledgeable repairperson.
I still have a question. What are better elevations for other pads near the throat such as some side keys' and A/A-flat pads?
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Author: William
Date: 2002-10-06 15:44
The problem you have described remindes me of similar difficulties experianced by my beginning clarinet players whose embouchures are not yet strong enough to adequately control the stiffer reed needed to play in the upper register. Assuming your clarinet is in good repair, your problem will most likely quickly disappear as your embouchure continues to develope its strength. Use the reeds that "give" you the upper register, and I think in "not too long a time" (days, weeks) you will be sounding great on the lower register notes as well.
Also, arching your tongue in back of your mouth in the same manner as imitating a cats hiss (saying a long silent K) will also help your oral cavity focus and "accelorate" your air for a more resonate sound.
Clarinetist "just in town"--"How do you get to Carnnegie Hall???"
New Yorker--"Practice, Man, Practice.""
Adidas--"Just Do It!!!!
Roy Rodgers--"Happy Trails, To You......."
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Author: GBK
Date: 2002-10-06 17:33
"Where ever you go, there you are"... Buckaroo Bonzai
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Author: Huen Wu
Date: 2002-10-07 16:36
Dear Alexi,
Gigliotti "P" facing is a very close facing. Vandoren's V12 #3 is way too soft for it. It was designed to work the best with V12 #4, #4.5, or even #5. I attended Anthony Gigliotti's master class in Taiwan, and he suggested using #4 or stronger. The "P" facing is the model that Gigliotti played himself, and I believe he used V12 #5 reeds with it.
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