 The Clarinet BBoard
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Author: McDonalds Eater
Date: 2021-03-31 21:20
I'm not yelling at y'all with that title; I just got overly excited because I think I just had a lightbulb moment
Throughout my studies I have always been told to add overtones to my sound for color and for carrying/projecting power in the orchestra.
Surprisingly I have never really been able to hear them or translate that sentence on the clarinet... for me I have always just heard clarinet. I do know about the harmonic series but for some reason I just haven't been able to hear that on the clarinet.
Then I came across this video (skipped to the clarinet solo). If you listen carefully there's the clarinet fundamental notes and then there's the "stuff" above it. His sound gets louder and more colorful when that "stuff" comes (or rather gets enhanced) in his sound. Those are overtones, right?
How can I enhance those overtones in my sound? Any exercises or equipment choices? I'm looking for that color that he's getting in his sound. Also anyone know what mouthpiece he's playing here? It looks like a Vandoren based on looks but I can't put my finger on it.
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Author: Matt74
Date: 2021-03-31 22:22
I can't hear it on my speakers, but you are probably correct. I can offer the following....
You can play overtones simply by playing a low C (xxx|ooo) and then, without changing your fingering or using your register key, overblowing to a second register G, and then a third register E. You can do this with any note. If you have a hard time getting the G to pop, flick your register key and then let it close. You can crack open your index finger, and then cover it, to help with the E.
The way to do this is NOT by biting. You need to move your tongue or soft palate a little. It may help to take in more mouthpiece, and/or use LESS jaw pressure. It may feel like you are playing out of your nose.
Now try playing the G (xxx|ooo), without using the register key, until you get a nice full sound. That's what you want. Notice how it feels in your mouth and throat.
Then, without using the register key, play a chromatic scale down from G. What will happen is that the closer you get to B (xxx|xxx x), the harder it will be to stay in the second register. The sound will split and want to go back down to the first register. (Neighbor alert!) You will either hear the second register alternating rapidly with the first, or hear both of them at the same time before it collapses completely to the first register.
If you can hear both of them at the same time, that's what you are listening for. Most of the time you won't actually hear the overtones separately, but I think you will understand. Eventually, you may able to hear certain upper and lower partials at the same time in a good sounding note. Practicing the overtones will help you become more aware of what is possible with your sound production.
When you are trying to get a good sound out of the clarinet you are essentially reinforcing different overtones. That's what adds color. If you go too far it squeaks or sound harsh. If you reinforce the lower ones it can sound dull.
Mouthpieces can help, but it's mostly the player. Others may know better, and it depends on the mouthpiece, but I think a more open mouthpiece can be more colorful. Also, rollover baffle, or a baffle that is less concave helps. A smaller chamber is also brighter than a larger one. It depends though.
I also play recorder. You can often hear both the first and second register at the same time quite distinctly because it's much less stable. The low notes are always popping to the upper partial if you blow a tiny bit too hard, and the high notes are always "grunting" to the lower register if your voicing isn't exactly right.
- Matthew Simington
Post Edited (2021-03-31 22:47)
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Author: Ken Lagace
Date: 2021-03-31 22:53
Here is more info about overtones, and my comment below it corrects this fellow's comparing it to a trumpet sound rather than a clarinet sound;
https://www.youtube.com/watch?v=_Okhe0tmGZY
And a lot more if you want more detailed technical information;
https://newt.phys.unsw.edu.au/jw/clarinetacoustics.html#pipe
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Author: Paul Aviles
Date: 2021-04-01 00:34
I would probably fall on the side of more conservative sized tip openings for generating better overtones.
But the bottom line is that the vibrating column generates the sound, so you just need to generate the vibrating column properly.
That would be (for me) using your abdominal muscles in opposition with your diaphragm to firm up your mid-section when blowing. I just saw a video where someone referred to a "cough." When you cough, your body does this naturally. If you hold that mid-cough feeling......THAT'S what you need to generate a good sound when blowing into the horn.
Another test for the right sound is if you can feel the clarinet vibrate under your fingers. It vibrates pretty good at all dynamics and registers when you are generating a good internal vibrating column.
.................Paul Aviles
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