 The Clarinet BBoard
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Author: Melanie
Date: 2002-10-10 06:14
The other day in our university wind ensemble, our director told the clarinets to talk to our teacher about our sound because it was to bright and penetrating. He said we sounded like we belong "on the 50 yard line" I went to my teacher today and he said that our sound was a little bright, but it was a good mature sound and that was the reason we were sticking out from the rest of the ensemble. We are trying to blend, but it is obviously not working. What can we do to brighten our sound?
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Author: Morrigan
Date: 2002-10-10 08:02
Melanie - you don't want a darker sound, you want a DEEPER sound. Talk to your teacher about this!
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Author: Synonymous Botch
Date: 2002-10-10 12:43
Any instructor that derogates a section before the rest of the ensemble is working a hidden agenda.
Beware University politics; play the way you think the sound is best... you're off to school to find YOUR voice, after all.
What instrument does the wind ensemble director play, personally?
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Author: HAT
Date: 2002-10-10 13:29
I suggest you ask the band director to demonstrate for you on his instrument how he wants you to play, in front of the whole group.
David Hattner, NYC
www.northbranchrecords.com
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Author: William
Date: 2002-10-10 16:24
Also, your quality problem may be a matter of dynamics. Too often, a clarinet section will overplay in the upper clarion and the resulting effect can be most strident (and overpworing). Even if the dynamic marking on a unison high (above staff) Bb is FFF, playing MP will usually be sufficient for projecting the sound and maintaining good blend and balance.
Playing in tune also helps the quality issue. "A pretty sound is an in tune sound"--James Smith, University of Wisconsin Wind Ensemble
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Author: E. Thomas
Date: 2002-10-10 16:53
It is most unfortunate that your "University Wind Ensemble Director" is so insensitive as to say that his clarinet section sounds like they belong on the 50-yard line. Egads! He must realize that whatever sound comes out of his ensemble is HIS responsibility and his alone.
Perhaps he allows other sections of the ensemble to play so loudly that the clarinet section is compelled to "overblow" and distort their individual tone qualities. Clarinet tone should be clear, pure, srticulate and as Debussy's expression mark says in the Premiere Rhapsody, doux et penetrant. Rudeness from the podium should not be tolerated. Perhaps a "conductor's sudition" is in order at your institution?
The comments of HAT and synomous botch make complete sense to me.
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Author: Ken Shaw
Date: 2002-10-10 18:55
Melanie -
This is probably not the first inconsiderate conductor you've run into. It certainly won't be the last. Part of being a complete musician is learning to roll with the punches. Jokes can help. I've posted, a few items up, a recipe on How to Cook a Conductor, which should at least give you and your section mates a smile.
Another part of being a complete musician is learning how to respond to musical demands from people who don't play your instrument. Believe it or not, this is an opportunity for you.
You have to be able to play with many good tones, not just one. A good way to start is to experiment with rolling your lower lip in and out over your teeth. When you roll it in, so that most of the red part is inside your teeth, the movement of the reed will be damped, because more lip tissue is in contact with it. This reduces resonance and brightness, which is probably what the conductor is looking for.
For more on varying your tone color, particularly by controlling the air stream and varying the position of your tongue and soft palate, see my postings at http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=18806&t=18784 , http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=43807&t=43777 and http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=83594&t=83539 .
A year from now, this will be a great war story. Let us know what happens.
Best regards.
Ken Shaw
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Author: Jack Kissinger
Date: 2002-10-10 20:18
As Willliam pointed out, the clarinet is a much louder instrument than many people give it credit for and notes from maybe G5 up (using the bulletin board notation convention), really pop out over an ensemble if they aren't controlled. Composers don't help when they write unisons between the flutes and clarinets at high pitches.
Probably the best wind ensemble conductor in St. Louis is notorious for having his clarinets play very softly (and often down an octave) anytime more than one or two ledger lines appear. He always gets amazing balance and exciting dynamic contrasts from his ensembles, however. Listen to some of Frederick Fennel's recordings and you'll get the idea. I agree with William that the solution may well be simply to cut back dramatically on the section's dynamics. You aren't there until you play so softly that he asks you to give more. I also think it wouldn't hurt for you to ask your conductor if he can be more specific about what he wants from you. I think you have the right attitude, though. If you want to work regularly, learn how to give the conductor what s/he wants.
Or, everyone in the section could go out and buy a B45 .......................... NOT!
Best regards,
jnk
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Author: Jim E.
Date: 2002-10-11 04:25
Rudeness from the podium, sadly, is often a fact of life. Whether or not it can be tolerated has much to do with the musician's position relative to that of the conductor. A student may not have much choice in the matter. A professional relying on the gig for a paycheck likely has little choice as well.
In my experience of both playing and singing since 1961, rude conductors are at least as numerous as gracious ones. Finding a director with superb musicianship, excellent communication skills, and who is a "people person" as well is rare indeed. I have been priviledged to regularly work with 3 such musicians.
I actually walked off stage before a concert and took a seat in the house when the director of our community band insulted me. I only came back when he apologized.
I am back to singing for a guy (after laying off for 5 years) who was in the habit of yelling "you stink!" at the choir. I am told that he has reformed (likely when his choir became much smaller) and he is a good musician ans is directing a work I very much want to sing. He doesn't know that he is on double secret probation, one "you stink" and it will be another 5 years.
But... I'm 52, not a professional musician, 30 years out of school, and have the luxury of picking and choosing where and for whom I play and sing.
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Author: Melanie
Date: 2002-10-11 05:34
Thanks for all of the information. I've been playing around with my sound for the last few days, and I'm starting to find what I want. In defense of my conductor, he is right, our sound is bright. Also, he knows the personality of our clarinet players (there are only 4 of us-and I don't ever hear one of them) His comments have pushed the two principals (myself and one other) to work on this. We are working together and pointing out problems. I have found another problem I have in addition to my lower lip is that I close of my throat. So, I'm off to practice and make it sound better.
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Author: diz
Date: 2002-10-11 05:46
Melanie ... you've got the right attitude for this ... good luck, and good clarinetting.
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