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91
All about Clarinets / Re: Well, I'm on a clarinet spree again...
« Last post by Airflyte on January 08, 2021, 01:38:24 PM »
You're absolutely right, Modernicus. Let's all do our part to spread false information.
.

Ok, let’s start by claiming that early clarinets are most likely “blown out” and not to bother with them.

They are best left for museum collections.


92
All about Clarinets / Re: Playing in the second octave
« Last post by philpedler on January 08, 2021, 10:51:55 AM »
Hi Larry!

I listened to the YouTube. If someone came up and gently wiggled the clarinet at the barrel left and right while you were playing, would it wiggle freely? If so, your embouchure might be tightened a bit more, and you could use a stronger reed. (But then bear in mind that I play much stronger reeds. You'll get lots of differences of opinion on the strength of the reed and how tightly to hold the mouthpiece.)

Another thing to try: It sounds like your tongue might be too low in your mouth. Try raising the body of your tongue a bit toward the roof of your mouth.

Another thing to try: Try pulling the corners of your mouth back. Try not to grin but pull back as straightly as you can. The goal of this is to flatten your embouchure where the reed lays on it and to eliminate puffing of the cheeks. (I could not tell from the video what was happening around your cheeks.)

Keep playing. Things will come right.
93
All about Clarinets / Re: Playing in the second octave
« Last post by TMHeimer on January 08, 2021, 10:20:34 AM »
Good suggestions above. Are you having trouble specifically with tonguing the high notes, or same when slurring? I analysed the process of tonging years ago and still revert to simply thinking "Ta". Anyway, I use a 2.5 Vandoren wood reed and have not had problems with high notes, so that may mean your Legere is fine since 2.5 is probably stronger in a "plastic" reed. Maybe a mouthpiece issue?
94
All about Clarinets / Re: Playing in the second octave
« Last post by Dibbs on January 08, 2021, 09:46:20 AM »
It sounds like lack of support at the start of tongued notes to me.  When you play legato it seems to be going pretty much OK.

Everything - support, pressure, voicing, embouchure - needs to be in place before the note starts.  The only thing that needs to happen is the tongue moving off the reed.

Having said that, the clarion A is is a note prone to "grunting" at the best of times.  It's hard to start cleanly at pianissimo for everyone.
95
All about Clarinets / Re: Playing in the second octave
« Last post by LarryS on January 08, 2021, 02:20:45 AM »
Thanks Airflyte
96
All about Clarinets / Re: Playing in the second octave
« Last post by Airflyte on January 07, 2021, 06:47:00 PM »
I would try loosening your embouchure - I know, you were recently told to firm it up on the lower notes but it's a fine line to keep that reed vibrating.

I like to warm up by playing the throat tones chromatically and getting the first upper register C to ring out nice and easy.

Let's talk about supporting that air stream as well. Get that diaphragm involved and visualize a nice clean column of air built on that very foundation.

I hope this helps Larry. Everyone seems to have certain specific "hacks" to help their tone.

PS, long tones do help to get everything working together.
97
All about Clarinets / Albert system, position of throat F sharp vent
« Last post by kehammel on January 07, 2021, 05:26:08 PM »
On many Alberts with two rings on the top joint, there is an open key between the rings that brings up the pitch of the throat F sharp. I gather the purpose of the rings and attached vent is to allow this note to be played with the thumb only, which is easier than the thumb + side F key fingering that works best on Alberts with no top joint rings. The rings close this vent key for most other notes, but the vent stays open for the other throat tones G through B flat.

What I'm wondering about is an alternate arrangement I've seen pictures of, in which the vent is above the top ring, and is covered with a small plate that is attached to this ring. It looks like the rings close this vent as usual but operating the throat A key also closes it. I guess this is supposed to keep the throat A from being sharp? But is the open G then in tune with this vent moved higher up the joint as it is?

On one of my Alberts, which has the vent between the top joint rings, I don't notice much difference in the pitch correctness of throat G vs throat A. And on the other, which has no top joint rings and no F# vent besides the side F key, the problem seems to be the reverse: the throat A is flat and the G# key needs to be opened to bring it up to pitch. So I'm wondering what problem they were trying to solve on horns that have the throat A key close the F# vent. Was moving the vent up and having the A key close it regarded as an improvement? I've been told Oehlers have this arrangement, by the way.
98
All about Clarinets / Re: Tenon Cork Recommendations ?
« Last post by GrumpyMiddleAgedMan on January 07, 2021, 04:17:54 PM »
Personally, don't look at me funny, I use pliers opened up and a wire brush after to get the last flecks. Yes I saw it on YouTube and honestly it works well. I tried a razor and that was just a pain.

Found the video I watched. The cork replacement is more towards the end.
https://m.youtube.com/watch?v=vpHVtIKBbDs
99
All about Clarinets / Re: Tenon Cork Recommendations ?
« Last post by Airflyte on January 07, 2021, 03:14:42 PM »
Does anyone have advice on cleaning all the old cork from the tenons?

 I have pics from my first project horn but we are still working getting the forum photo attachment feature to work.
100
All about Clarinets / Playing in the second octave
« Last post by LarryS on January 07, 2021, 03:13:14 PM »
So I thought I'd have a go at playing with the register key pressed. I soon discovered that the high notes need a bit more work and beyond a certain point I get no sound. Stronger reed for the higher notes?
I was using a very tight embouchure here with a Legere 2.5 reed.

https://youtu.be/q3G2MrHUi4w
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