 The Clarinet BBoard
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Author: Mpowe027
Date: 2014-01-18 22:02
Hey gals and guys,
So, I'm the Eb clarinetist in a one-on-a-part university wind ensemble, and I'm having major issues with blending. I should preface this by saying that I also play Eb in my university's orchestra as well with no complaints about blend. This semester the wind ensemble is playing Vaughn William's Folk Song Suite, Grainger's Irish Tune, Holst's Hammersmith, Husa's Music For Prague, and Persichetti's Symphony no. 6. The conductor has a complaint for everything I play, but it's always the same: "You're sticking out, you need to blend into the other clarinets!" I'm starting to dread this ensemble. No matter what I do I cannot play quieter. Half of these songs have lyrical e-flat parts that are written high in the altissimo at never more than a mezzoforte. Then, there's these technical parts that are also screaming, which I'm fine with, but I'm still told that I cannot be louder than the 1st clarinetist who can't be louder than the third clarinetist. The conductor told me that I'm the best Eb player he's had in a few years but that I don't listen to other people in the ensemble. I told him that there's no way that that's true; if I wasn't listening to other people I couldn't possibly play with proper intonation.
What can I do to play quieter? In orchestral settings I've always been told that Eb clarinet parts are meant to be loud and proud. Why is this not true in a band setting? I'm becoming a nervous wreck. Worse than that, I'm starting to doubt myself about all of my playing.
I appreciate the help.
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Author: Bob Barnhart ★2017
Date: 2014-01-18 19:46
I was the Eb clarinetist for the San Diego Symphony from 1975-1985 and I found that MOST Eb parts required one to play loud/high. However, more recently, playing Eb in a clarinet ensemble or quintet, I've experienced the same difficulties playing p-mp in altissimo lyric lines. In some ways, this is much more difficult for this instrument.
However, here are some things to try or consider:
1) Instrument - make sure the instrument has no leaks or stuffy notes.
2) Reeds - try to fix softer more responsive reeds. Sanding the backs may improve overall responsiveness if they don't fit your mouthpiece's table well. I use reed-rush on the vamp to balance the reeds and typically work the entire vamp just to the right of the reeds centerline to improve response. Perhaps thinning the tips might also help, but watch that you don't impair altissimo response.
2) Mouthpiece - I played a 5RV initially but it lacked the big sound and altissimo response I needed. I played for most of my symphony days on a Jim Kantor Eb mouthpiece that still didn't pop out the high notes. Some years ago I switched to a Ben Redwine Zinner (1.05) that has a great sound and really responds up high. Perhaps a different mouthpiece will help. Many players also like the Fobes Eb. In general, a closer facing might be better suited to a more "chamber-like" capability that would suit wind- or smaller ensembles.
4) Voicing - Learn to voice the harmonic series for at least the notes whose harmonics are coincident with the Eb's altissimo notes. For example, play low C and work on producing the its G-E-... harmonics using just the airstream/throat. Facility in these techniques will make it much easier to play the high notes softly.
5) Airstream - We all know how important a strong, focused airstream is and this is even more important for Eb. However, you might also consider developing an "intensity vibrato" to facilitate sensitivity to and control of the airstream, as well as giving the sound more warmth/character. (For examples, listen to Harold Wright recordings).
6) Fingerings - The Effer supports and requires lots of alternate fingerings. The books by Peter Hadcock and other resources (e.g., Jessica Phillips on YouTube) are good sources for invaluable tips.
7) Concept - think of the Eb as a "lyric" instrument. Play everything you play on Bb on Eb as well (e..g., Rose Etudes). Play along with melodies on the radio, both in unison and in octaves. Practice playing the instrument as a "color" added to the solo line. Try playing with vibrato. Learn to love the instrument.
8) Other - A final recommendation is the Fobes Eb extension--it is an amazing invention and really improves the tone/intonation/response.
I hope these suggestions help. Good luck and enjoy being an Eb soloist!
Bob Barnhart
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Author: Petrushka
Date: 2014-01-18 19:58
Eb can be really frustrating to play so I wouldn't worry about trivial things like a conductor saying "you're not blending". If your tuning is good then your major hurdle has already passed.
I've played the Grainger and the Holst before:
Grainger- I can understand the conductor saying you're not blending about this, but as long as you are in tune then. Just follow everything your principal player does and don't fret.
Holst - This piece was a nightmare when I did it. I had to cover both eb parts as we couldn't get a second player. The opening few solo entries that are in unison with the bassoon should sound controlled and equal in importance. If you can get together with the pic player 1-2 times just to sort out some of the crossover entries (mainly the 2nd half of the piece) then you shouldn't have many problems.
I've been playing (my own) Eb for many years in wind ensembles and I've never been told to "blend" more. I use Bb reeds on the Eb mouthpiece so there are less variables to worry about that comes with playing an aux. instrument so that might be something for you to consider if you don't already do this.
Unless your conductor is also an extremely good clarinet player, try not to worry about all the "fine details" he is trying to fix about your playing within the ensemble - he is probably just trying to find things to say and dissing the Eb player is an easy way.
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Author: Paula S
Date: 2014-01-18 20:12
I have just bought a Backun Cocobolo barrel and bell. These help me play with a really mellow controlled sound and make ensemble work enjoyable.
The barrel alone makes quite a difference and you can get a studio line one for a decent price from sellers on that auction site ;-) You can also use Bb reeds with the Backun barrel.
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Author: Ed Palanker
Date: 2014-01-18 20:58
The best Eb players are only heard when they're supposed to be heard. The instrument tends to be played too bright in my opinion. There's a time to stick out and there's a time to blend in an orchestra or a wind ensemble. The art is to learn how to do it. You may need to learn how to "mellow" your tone by using a different strength reed and or mouthpiece. Just because it's an Eb clarinet does not mean that it can't blend into a clarinet section. Work at not forcing, playing mellower and playing at least one dynamic less than written unless it's a solo passage that is supposed to sore through. Practice some etudes softly to learn how to do it.
ESP eddiesclarinet.com
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Author: Steven Ocone
Date: 2014-01-19 19:13
Perhaps a piece of thick carpet on the floor in front of you will help.
Steve Ocone
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