 The Clarinet BBoard
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Author: Lisa
Date: 2002-10-11 16:20
Hi everyone,
I've just returned to playing after a 10 year break, and so far I'm absolutely loving it. I was intermediate standard before my layoff, and so far, it's all coming back to me very easily.
However, I'm having a few problems with tuning and embouchure. I'm finding that certain notes are a little sharp, some a little flat, and some just right. In particular the first finger A is very sharp. I'm having no problems reaching high notes or anything, but they're sounding a bit thin. Also having a few problems with air escaping from the corners of my mouth, no amount of "pulling in" seems to correct it.
I'm currently playing on a 2.5 Mitchell Lurie reed. I tried the 2.5 Vandorens before that but found that a little hard going breath wise. The mouthpiece says "Precision" on it, but I'm not sure of the make.
I'm sure it doesn't help that finances dictate I have a choice of either an Artley, or a Bundy to play on at the moment. Both student models. I find the Artley very comfortable to play, but it sounds dreadful. The Bundy sounds a little better, but more "plasticy", and isn't as comfortable to hold or key. I don't want to go splashing out on something more expensive just yet, if the problem is purely down to my lack of muscle tone. I'm working up to affording something a little better instrument-wise, but in the mean time I could use some tips on how to correct this problem, as far as my equipment will allow, of course.
Many thanks,
Lisa (UK)
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Author: Ralph G
Date: 2002-10-11 17:15
The air escaping from the corners of the mouth is a prime symptom of just being out of shape, embouchure-wise. With practice and conditioning, it'll improve. Remember, if you jogged regularly and then quit for 10 years, you'd need some time to get back up to your old speed.
On many horns, the throat A you described is often sharp, especially on student-model horns. If that's where the majority of the problems lie (sharp throat tones such as Bb, A, Ab, G and F#), then pull out a little bit at the barrel, and/or get into the habit of putting down the right hand fingers on the lower joint keys on the throat tones to flatten them out. I did this on my Signet 100, but when I switched to an R13 I had to get myself out of that habit since the throat intonation was better.
Part of this is just inherent to student horns -- they're not usually made with dead-on perfect intonation as the goal. If the problems are major, if some notes are sharp while others are flat and no reasonable amount of embouchure adjustment will correct them, take the horn to a technician for adjustment. But be aware that minor intonation accuracies are sometimes inherent to student models.
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Author: William
Date: 2002-10-11 21:49
Take heed of the good advice already given, but in the final analysis, you will need to use a tuner to learn the specific tuning characteristics of your clarinet(s) and then listen--and adjust--when you have to. Good intonation is often as result of "good cooperation."
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Author: arcmessenger
Date: 2002-10-11 22:18
i have a question pertaining to the air escaping.. what if you play regularly and have been for quite a while and air still leaks? what can i do to change this? i've tried pulling in the corners but nothing helps-thanks
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Author: david dow
Date: 2002-10-12 00:37
A good book with alot of fingerings which are useful for pitch are in "clarinet Fingering" by Thomas Ridenour. Also you may want to look into your reed mouthpiece combination if things don't improve over a period of time.
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Author: Ralph G
Date: 2002-10-12 00:41
Switching mouthpieces worked somewhat for me. I played on a Selmer HS* from my beginner days up until this July. I only picked up the clarinet this summer after a 3-year layoff, and my endurance was shot -- I leaked like a slashed tire. I got somewhat back in shape, but I felt I was still working too hard. My HS* has a relatively narrow tip rail and feels like I'm blowing through a swizzle stick. Then one day a fellow player gave me an old Vandoren B45, which spread out more widely in my mouth. I played a rehearsal and a concert on it and I felt like I'd seen the Promised Land. What a difference -- I had a lot more control over my tone and volume, and the leaks were pretty much gone. After a couple of weeks, I went to the shop and tried out a bunch of new Vandorens, finally settling on the M13 Lyre I use now. Someday I'll try out some of the specialty makes, but I'm happy for now.
Anyway, that helped me. Maybe it'll help you too. Just one suggestion out of a possible thousand.
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Author: JPM
Date: 2002-10-12 00:51
Dear Lisa,
Keith Stein speaks to this problem on page 48 of
his book (The Art Of Clarinet Playing).
To quote Mr. Stein:
"The audible sound detracts greatly from tonal beauty. Players usually lay the blame on weak lips and consequently tighten them up even more. This simply adds fuel to the fire, since their real trouble is most often caused by over-tensed lip muscles. The true remedy lies in learning to ease the embouchure muscles into a plastic and flexible wrapping around the mouthpiece."
This was a problem that I had; the harder I tried to tighten up, the worse it got. It finally
went away when I learned to relax. I hope this helps.
Sincerely,
JPM
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Author: Lisa
Date: 2002-10-12 09:40
Thanks everyone for all your great suggestions.
Ralph G - I was wondering too about the intonation on student models, especially the Artley. I've heard that they are notorious for it.
I'm going to try out a few different mouthpieces soon and see if that helps things too. And I'll try and learn to relax about it a bit more!
Many thanks all,
Lisa
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