 The Clarinet BBoard
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Author: drews1949
Date: 2011-05-11 15:13
What's the best way to gain consistency in the upper altissimo? I routinely play my scales up to c'''', but I'd like it to be easier, and I'd like to be able to go higher. Also, what the best chromatic scale fingering chart for c''' to g''''? Is there a good book or something out there that can help?
Thanks
DS
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Author: Bb R13 greenline
Date: 2011-05-12 03:02
The rubank books have a good fingering chart that has every fingering you would need for a chromatic scale.
As for consitency in high notes just practice mid range and the higher one will come in time. Some tips would be to play them exactly how you would play your lower notes, they should sound if you do not constrict your throat or embouchure yet keep your diaphram pressure very high.
Also overtones help you Learn how to voice high notes properly. To practice them just play an open G and then raise your tung. The note should change to a higher one. Once you get really good at it you can be able to get 5 notes out of one fingering
-hope my 2 cents help:)
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Author: Cupcake
Date: 2011-05-12 03:10
I can't say that I'm qualified to give advice on the altissimo, but I am working my way through a nice fingering chart at http://www.wfg.woodwind.org/clarinet/ . It includes multiple possible fingerings for each note.
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Author: johng ★2017
Date: 2011-05-12 14:11
Kalmen Opperman "The New Extended Working Range for Clarinet", published by Carl Fischer
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: Ed Palanker
Date: 2011-05-13 18:26
There's a fingering chart on my website with many fingerings for the altissimo register. Go through them and choose 2-4 fingerings for each of those notes that work well on your clarinet and work on them until they become natural to you. Once that happens you can decide on which ones work best for chromatic or any other scale passage for you . Every player should be comfortable with at least two fingerings for everything about C 6 and 3-4 for several of those for intonation and ease of playing. ESP http://eddiesclarinet.com
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Author: stasou
Date: 2011-05-14 03:08
For a chromatic scale C-G, it depends on the speed and exposure of the scale. I you are going to play it very quickly where no one can notice if an individual note is out of tune, then use standard fingerings up to F#, then to go to G just add RH Eb key. Otherwise, stick with standard fingerings.
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Author: drews1949
Date: 2011-05-14 17:08
I'm sorry if I was unclear in my question, but I'm referring to the C two octaves above the C in the staff, not one octave. How does one learn to get up there?
DS
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Author: drews1949
Date: 2011-05-14 17:10
I'm the original poster.
I'm sorry if I was unclear in my question, but I'm referring to the C two octaves above the C in the stave, not one octave. How does one learn to get above there? I'm fine until that pitch, but above it (for Ginastera, etc....) is where I'm stuck.
Thanks,
DS
Post Edited (2011-05-14 20:07)
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Author: trebleclef
Date: 2011-05-14 19:46
Hi Drews everyone will probably tell you something different. But ill tell you my approach. Play an E (not the high E) make sure that you are not biting and that you tongue position is high..do this my saying the word "cheee" beforehand..this will ensure that your air stream we be directed downwards onto the reed at the correct angle. now simply remove your index finger..You should get a C#. Also don't forget your airsupport
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Author: Simon Aldrich
Date: 2011-05-15 19:39
DS - You might know this but the internal physical characteristics of a mouthpiece can facilitate or hinder the easy production of the extreme high range. Generally speaking, mouthpieces with shallow baffles "give up" the high notes more easily. When I play contemporary concertos that go very high, I play them on one of my mouthpieces with a shallow baffle, an M15 (non series 13) or Kaspar. I have many colleagues that do the same thing. When they play the Corigliano Concerto for example, they switch to a shalllow-baffled mpc.
Mpcs with thin rails also tend to produce high notes more easily.
As is often the case when dealing with mpc characteristics, there are tradeoffs. I don't particularly like the sound of the mouthpieces I switch to (lack of warmth and depth) but the ease with which they produce the extreme high notes is worth the temporary tradeoff.
------------------------------------------------------------
Simon Aldrich
Clarinet Faculty - McGill University
Principal Clarinet - Orchestre Metropolitain de Montreal
Principal Clarinet - Orchestre de l'Opera de Montreal
Artistic Director - Jeffery Summer Concerts
Clarinet - Nouvel Ensemble Moderne
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Author: Bassie
Date: 2011-05-17 13:37
Some help in the stratosphere:
http://www.wfg.woodwind.org/clarinet/cl_alt_4.html
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Author: Merlin_Williams
Date: 2011-05-18 14:34
I learned most of my upper register fingerings and facility from an older Kendor publication - I think it was by Norman Heim. Good fingerings and exercises. The only one of his fingerings I don't use is the top Bb.
Jupiter Canada Artist/Clinician
Stratford Shakespeare Festival musician
Woodwind Doubling Channel Creator on YouTube https://www.youtube.com/c/WoodwindDoubling
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