 The Clarinet BBoard
|
Author: NZDee
Date: 2022-12-05 22:08
I posted recently about which student Bass clarinet to get and have a Vito 7166 to trial for a few months.
What are your tips for getting a good sound and reaching those low notes? I'm finding it hard to get the lower notes at the moment, and out of breath very quickly. Hoping I can make some nice noise with this soon!
Thanks
Denise
|
|
Reply To Message
|
|
Author: kilo
Date: 2022-12-05 22:43
As I recall, getting a good sound in the low register was relatively easy compared to the clarion and I wonder if your instrument is in good condition. It doesn't take much of a leak to cause problems. Additionally, what strength reed are you using and what mouthpiece are you playing?
|
|
Reply To Message
|
|
Author: Magicbean
Date: 2022-12-06 03:49
Denise, I recently started playing bass having spent years on Bb. I agree with Kiio, the lower register is often the easiest one to get a good sound from but a slight leak can mess that up.
Also the change in embouchure takes a bit of getting used to as well as getting the mouthpiece angle right.
It’s easy to be applying too much bottom lip pressure when you’ve come from Bb. You need a looser jaw, a firmer side seal with the corners of your mouth, a more relaxed throat and usually more of the mouthpiece in your mouth.
If you’re biting too hard, yiu might be closing the reed off.
Oh and a good posture with plenty of air support, of course.
Sorry if you knew this but that’s what helped me in all the registers.
Just as with Bb, combination of reed strength and mouthpiece shape are really important so be prepared to experiment a lot while your embouchure settles down.
Post Edited (2022-12-06 11:22)
|
|
Reply To Message
|
|
Author: donald
Date: 2022-12-07 14:58
Hi there,
which part of the country are you in? If it's in Auckland/Tamaki Makaurau I can play test the instrument for you... if it's somewhere else I may be able to recommend someone to help you out.
Bass clarinet is my favourite- I've got a 1935 Buffet Bass which I love to bits... however it only takes some small mechanical problem or a leaky pad and the beast can be a nightmare.
Example- a student of mine at Westlake Girl's was having huge problems, then tried my bass and played quite well. I found an adjusting screw on her instrument and moved it less than 1 turn clockwise... and bingo the instrument was playable again... (a boy at Liston in Waitakere had similar problem a year back, couldn't play his bass at all during one of the 2021 lockdowns, but only took 2min to fix)
dn
|
|
Reply To Message
|
|
Author: NZDee
Date: 2022-12-07 21:12
Hi!
I'm in Dunedin so my options are VERY limited lol
I have rented the Bass from KBB - the only place down here - and they say it was fully serviced before they sent it to me...
Thanks!
Denise
|
|
Reply To Message
|
|
Author: donald
Date: 2022-12-08 01:30
I'll message Ashley Hopkins and ask when he's in Dunners next... hang on...
|
|
Reply To Message
|
|
Author: Ed
Date: 2022-12-08 01:48
You might watch some of Mike Lowenstern's content. He is a fantastic bass player. If nothing else, you might listen to his sound to get a good solid tone in your ear. Use that as a guide.
The best advice I could offer- it is a whole different animal than playing clarinet, so don't approach it the same way. Like on any instrument, invest in a decent mouthpiece. You don't necessarily have to spend a lot. Even a Fobes Debut would be a major step up from many stock pieces.
Post Edited (2022-12-08 01:49)
|
|
Reply To Message
|
|
Author: super20dan
Date: 2022-12-08 04:23
good mpc and the proper neck angle go a long way to making the transition to bass eaiser. i was lucky and found bay inproved angle necks for both my leblanc and bundy bass horns. made all the difference . a more loose embrasure is needed on bass. esp in the low register. comming from sax this was easy for me
|
|
Reply To Message
|
|
Author: kilo
Date: 2022-12-08 06:52
Bass Clarinet 101 by Ed Palanker:
https://mhsband.org/uploads/3/4/0/2/34026096/bass_clarinet.pdf
|
|
Reply To Message
|
|
Author: graham
Date: 2022-12-09 17:34
The bass takes a lot more air than the regular clarinet. This seems to be a bigger difference than the embouchure changes, which the brain adjusts to in due course.
If the mouthpiece is open and honky, try getting a close facing model to conserve air. In general, a sub par mouthpiece is a show stopper.
graham
|
|
Reply To Message
|
|
Author: Micke Isotalo ★2017
Date: 2022-12-09 19:29
I agree about the air, but just want to add that tip opening alone and air consumption doesn't always go hand in hand. When I tried out the Vandoren BD5 (tip opening 1.87mm), Selmer Focus (1.90mm) and Vandoren B40 (1.93mm), most surprisingly the least air consuming turned out to be the one with the largest tip opening - the B40. That was of course with a reed strength suitable on each (on the BD5 and Focus the same reed felt equal, but the B40 needed a slightly softer one to be on par).
|
|
Reply To Message
|
|
Author: davidjsc
Date: 2022-12-09 20:56
Softer reed may help. I find I cannot use the same reed strength for all four clarinet sizes I have (C, B-flat, alto, and bass). Whereas I generally use 2.5 for a sorprano instrument, my alto works best with a 1.5 or maybe 2, depending on how much time I need to stay in the clarion register, while my bass works best with a 2. I'd never use anything stronger than 2 on an alto or bass if you are spending most of your time in the chalumeau range.
Using too hard a reeds seems to be a hold-over habit from players dropping down from their primary soprano to their secondary alto-bass. But many of those, like myself, who started out playing clarinet not on a soprano instrument, often opt for softer over harder.
Arthur Nix, the alto-bass-contrabass instructor from the 1970s-1980s recommended softer over harder reeds - he said the instruments lose some of their harmonics unique to them, if too hard a reed is used (he recommended 1.5 or 2). I learnt on an alto around 25~ years ago and never picked up a B-flat or C instrument until 2 maybe 3 years ago and immediately found it difficult due to the reed difference and what works for one, does not really work for all. I'm only now able to get a decent clear tone from a 2.5 reed on a soprano. And I literally still cannot get a sound with a 3.
DSC
~~ Alto Clarinet; Bass Clarinet; B-flat and C Boehm Clarinets; Albert C Clarinet; Oboe ~~
Post Edited (2022-12-09 21:05)
|
|
Reply To Message
|
|
Author: EbClarinet
Date: 2022-12-18 20:28
I had a low C bass in college. Played in the tops band 5 years. I had low Cs in some of the songs. I learned to open my throat and drop my embouchure to get a good low growling on the lower notes.
It was either that or get cussed out publicly by my college band director. I feared that after squeaking on a low E. Made a great bass clarinet player out of me.
https://www.tapatalk.com/groups/mbtldsongministry/
|
|
Reply To Message
|
|
Author: kdk
Date: 2022-12-18 22:07
I have to admit being a little puzzled when I read that people have trouble getting solid low notes on a bass. My troubles, the notes I really have to humor and worry about, have always started with F#5. If I could stay eternally below the break or even below F5, I'd be thrilled.
It may be that, like a soprano clarinet, some players try to play reeds that are just too hard.
Karl
|
|
Reply To Message
|
|
Author: Ebclarinet1
Date: 2022-12-21 06:24
One thing I have noted in people transitioning from Bb to bass is not putting enough mouthpiece in their mouth and loosening their embouchure.
I find a Fobes CB mouthpiece with a 2 1/2 Steuer reeds gives a big sound on the low notes but also good altissimo notes on my Buffet Prestige bass. The Icon neck joint and bell have made intonation and projection much better too.
Eefer guy
|
|
Reply To Message
|
|
Author: super20dan
Date: 2022-12-21 18:01
i bought a fobes cf mpc for bass and found it underwhelming. yes its decent but my selmer c* and vintage woodwind steel ebonite b6 out play it in every way.
|
|
Reply To Message
|
|
Author: Ebclarinet1
Date: 2022-12-21 22:22
super20dan I found just the opposite! In fact I have tried about 20 bass mouthpieces and the Fobes came out on top. Walter Grabner's came in second. Both play in tune and also play the altissimo notes with ease.
Of course I have a rather large mouth and the Selmer's may have sounded rough and nasty because of me! Everyone has a unique embouchure!
Eefer guy
|
|
Reply To Message
|
|
Author: ebonite
Date: 2022-12-21 22:50
A lot of the time, selmer bass mouthpieces need to be reworked to be good
|
|
Reply To Message
|
|
Author: JEG ★2017
Date: 2022-12-21 23:49
From my own experience - I began playing bass clarinet in college, using the school's Leblanc. Honestly, I don't remember the model. I had one bass clarinet lesson with my teacher at the time, Felix Viscuglia, who told me to approach the bass clarinet like a big clarinet. I have tried to apply that wisdom over the years with a good deal of success.
When I finally got serious about playing bass I borrowed the money to buy a new Selmer Model 33. Playing that instrument was a revelation after the Leblanc; the clarion register spoke beautifully and the low register was particularly resonant. I still have that instrument 51 years later. I also have an excellent mouthpiece by Bill Street.
I have tweaked Viscuglia's advice a little over the years. My variation is that the bass clarinet is just like a clarinet, only more so. Meaning that any quirks, such as top line F#, are magnified on bass. The key to overcoming such quirks, to me, is to try to remain consistent from clarinet to bass clarinet, allowing for the fact that the bass instrument is larger. That pertains to breath support, fingering and embouchure. If you develop good habits on one instrument you should be able to transfer those habits to the other.
Try to find a mouthpiece/reed combination that is comfortable. Don't go for anything that is too resistant; it's better to start soft and if you feel that you are overpowering your setup go harder.
|
|
Reply To Message
|
|
Author: super20dan
Date: 2022-12-22 17:18
i am keeping the fobes for use with cane reeds. it does well in this regaurd . it doesnt play well on legere as does my selmer c* excells in this way. i am oh so tempted to get a selmer mod 33 but just had dave speg do an execellent overhaul on my leblanc 400
|
|
Reply To Message
|
|
Author: Ebclarinet1
Date: 2022-12-23 02:17
super20dan,
Yes I use only cane reeds. I really like the Steuer reeds as they have a big sound. They require some break-in.
JEG, I had a Selmer before buying the Buffet. Keywork and intonation are better on the Buffet and the sound is different. The Selmer has a big sound whereas the Buffet has more of a "very deep clarinet" sound. It blends a bit better.
Eefer guy
|
|
Reply To Message
|
|
Author: MajorFifthMusic
Date: 2023-01-22 00:24
Along with all other responses, I'd like to recommend reading this dissertation: https://digital.library.unt.edu/ark:/67531/metadc804824/m2/1/high_res_d/dissertation.pdf
There is a wealth of information and resources here for a serious bass clarinetist!
|
|
Reply To Message
|
|
Author: kilo
Date: 2023-01-22 15:32
@MajorFifthMusic
Thanks for this recommendation! At first glance it appears very thorough and I'm looking forward to reading it in full.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
