Author: kdk ★2017
Date: 2019-07-13 23:43
I don't mean this to sound harsh or snarky, but beware of the feeling that you've found some really beneficial equipment combination that has solved (or begun to solve) your problems with smooth connections over the break. The ligature-mouthpiece-reed combo you've found may be more compliant in some way than the equipment you started with, but it hasn't corrected the problem, which is almost certainly in your technique.
>> The computer does not seem to think that I have improved as much as I do. :-)
That's because the computer hears more objectively and is saying the problem is still there.
I have little to add to the advice you've already read.
Your fingers need to cover the holes accurately and all-at-once. Your air stream has to remain steady.
Your embouchure has to remain stable as well - there's often a tendency to clench or grip with your lips or (worse) your jaw to keep the instrument still as you cross over the break - up or down. That tendency has to be felt and eliminated to get a smooth crossing. Your embouchure can be in any state that allows a full sound to result - but it should be the same for both of the notes - before and after the register crossing.
One suggestion I would make is that you get ("throat") Bb4 or A4 to B4 or C5 straightened out before you go on to larger intervals. (The numbering system is implied by the icon at the top of this page next to "The Clarinet BBoard" - "middle C" - one leger line below the treble staff - is C4). I'm assuming you mean E4 (bottom staff line), F4 and "throat" G4 in your graphs, and I'm hoping you mean C5 (3rd space from the bottom of the treble staff) and E5. My suggestion would be to start first on the upper note - preferably C5 or B4 - and practice smoothly slurring*downward.* Once that's clean, immediately add a slurred return to the original note. And, your teacher's objections (which I don't really understand) notwithstanding, try at first (when you practice at home if it's a sore spot at lessons) to keep your entire right hand down when you move from C or B to Bb or A and then back. Once you get the feel for the connection, you'll be able to take the RH off the holes, but at the beginning having the RH fingers down helps hold the clarinet still in your mouth. Having the mouthpiece wobbling around can cause you to grab with your embouchure (as I mentioned above). Once the slur to B or Bb is smooth, you can try connecting to G, then progressively down the scale for the bottom note.
And trust that once you learn to control your fingers, air and embouchure well enough to do this reliably, it won't matter what reed, ligature or mouthpiece you're using as long as they're all working correctly.
Karl
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The Clarinet BBoard
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