 The Clarinet BBoard
|
Author: DTrinh09
Date: 2007-02-21 01:38
So today during Band (high school), my director said that over the weekend he attended a clarinet session (something of that sort) and there was this lady who was demonstrating a full arpeggio with only one fingering--no register key either. It was low G and E, and she supposedly played it. I've never heard of this before. (I knew you could "break" the note and reach the 12th i think without the use of the register key--it'd just be out of tune). My director put me on the spot today and I had no idea whatsoever how to do that feat. Quite frankly, I still don't believe him. Any thoughts on this? Has anyone played that successfully?
|
|
Reply To Message
|
|
Author: John O'Janpa
Date: 2007-02-21 11:17
what he witnessed may have been the series of 12ths. Chalameau C, clarion G, altissimo E.
Hard to tell from the description.
|
|
Reply To Message
|
|
Author: johng ★2017
Date: 2007-02-21 17:08
Try this: play a 3rd line B with a little more than usual mouthpiece in your mouth. Then, using your tongue position and a little embouchure firming, play the higher harmonics without changing the fingering. You can play a number of higher harmonics in an arpeggio fashion. It is a little like playing a bugle or a trumpet without using the valves.
|
|
Reply To Message
|
|
Author: hans
Date: 2007-02-22 00:02
DTrinh09,
Re: "My director put me on the spot today..." what does that mean? Why did he think a high school student would be able to do something just because he saw someone else do it?
Hans
|
|
Reply To Message
|
|
Author: DTrinh09
Date: 2007-02-22 01:12
John O'Janpa,
that sounds more reasonable, but he seemed pretty adamant that it was an argeppio. i'll ask again tomorrow.
johnq,
well my director said the lady didn't use the register key and was able to hit multiple notes in an arpeggio fashion. =/
hans,
after he explained this he told me to try this during class. expectedly, i was unable to play what he wanted and...that sucked/was embarrassing, haha. Yeah, i'm wondering the same thing...silly man.
|
|
Reply To Message
|
|
Author: mk
Date: 2007-02-22 03:03
ask him to conduct the Rite of Spring for memory and then see what he says.....its most likely overtones she is playing....not difficult at all....and not that useful....master circular breathing and then he can brag to his friend how talented you are!
|
|
Reply To Message
|
|
Author: DTrinh09
Date: 2007-02-22 04:12
i've never heard of the song, but jwpepper has it under an Advanced rating. chances are, my director will be dumbfounded...
what do you mean by "overtone"? is that the same as twelfths? chalameau G = clarion D? sorry, i'm not familiar with all of the terms yet.
haha, circular breathing... i should try learning that. i tried several months ago, but to no prevail. it's pretty darn difficult... can you do it?
|
|
Reply To Message
|
|
Author: Danny Boy
Date: 2007-02-22 09:18
Sounds like an exercise I do, overblowing to hit the first 3 harmonics of each note, starting at low E and ascending chromatically.
Not that useful mk? I have to disagree. So much of clarinet playing is about throat position, and if you practise pitching the WRONG harmonic so that you know what it feels like, you're less likely to pitch them accidentally...i.e. squeak.
http://en.wikipedia.org/wiki/Overtones
Check here for a decent enough explanation of overtones/harmonics.
|
|
Reply To Message
|
|
Author: mk
Date: 2007-02-23 01:33
Charles Neidich is one who comes to mind of a clarinetist who has mastered the technique of circular breathing. As far as the importance of overtones and the prevention of squeaks, I would opt to provide my student with a balanced reed and a good mouthpiece. If overtone practice is important in your opinion, I respect that, I just do not ascribe to it.
|
|
Reply To Message
|
|
Author: ZCClarinet
Date: 2007-02-23 16:28
Working on basic jazz concepts with the jazz woodwinds professor at my school, he at one point did the same thing with his alto sax (which perhaps is a nicer instrument to do this demonstration with?). By only changing the air flow to produce the overtone series, he proceeded to produce various tetrachords and eventually moved up to diatonic scales and chromatic collections as the series converged.
As Danny says, this is useful in the control of the altissimo register (which is where most of this occurs). An easy example: being able to switch between E6 and A6 without much effort is rather... convenient in many tonal situations.
|
|
Reply To Message
|
|
Author: clarinetist04
Date: 2007-02-23 19:17
Defeinitely the overtone series that Tony referenced. It's pretty easy when you sit down and try it like he explained.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
