Clarinet Beginner

[j44breaker]

Hi all,

I've just recently picked up an old Vito Resotone around the house and started getting going on my clarinet chops. I've been doing fairly well, and I figure that getting over the break consistently will be something that takes lots of practice, and there isn't a special trick to learn.

However, I did have a question. I do sometimes squeak when it comes down to the throat tones. Is this normal until I get the feel right? Is there a different mentality when trying to accomplish a clear (not fuzzy, for me--leak? normal?) tone, as opposed to saxophone? I've been doing longtones, but I'm not sure HOW to get rid of the thin tone (as in, what to think: open throat, corners in? chin flat? smiling embouchure?) that I've been getting with the throat tones, and for a few other tones.

Plus, is it me, or the ergonomics on clarinet a bit constricted? Please, natural clarinetists take no offense--I'm just frustrated that I'm having a bunch of trouble! I know that clarinetists have to be spot-on when it comes to covering holes and what not, but seeing as though I have a plastic clarinet, are more expensive clarinets more ergonomic and have a better feel to them?

--Joe

[Gordon (NZ)]

More air pressure.
Firmer embouchure.
Spread lower lip thin before placing reed on it. THEN close lips like a rubber band.

All essential for clarinet playing compared with sax.

[retread]

Yes, more expensive clarinets are more ergonomic and have a better feel (my personal predjudice is for Leblanc), but it's a matter of small degrees of difference, changes that would be most noted by experienced players. A well-adjusted Vito is an excellent clarinet to learn on. All clarinets have a lot of keys in a confined space. Learning the clarinet requires lots of practice and will expand your command of profanity.

And be sure to hold the clarinet so the mouthpiece is more vertical than sax--blowing more across the reed versus down the reed.

[j44breaker]

Thanks for the replies.

Over the past week, I've been able to get a consistent sound without squeaking. However, when I do squeak, it's because my fingers aren't completely over the holes. Hence, the question, are there ergonomic clarinets are a higher price.

Considering that I'm going to be on this Vito for a while, are there any exercises or methods of practicing that I can use to boost my technique of going up and over the break (usually going down is okay)? Practice slower?

--Joe

[retread]

The better ergonomics aren't so much the holes as the keys. Get a good exercise book for clarinet--a systematic approach to learning the registers, and changing between them, is important on clarinet. You'll learn the numerous alternate fingerings and when to use them.

[j44breaker]

Any recommendations on good exercise books for clarinet?

--Joe

[Gordon (NZ)]

Yes, more expensive clarinets are more ergonomic and have a better feel

I find that statement so sweeping and generalized to be distinctly misleading.

Some pro instrumnets have apalling key layout for certain hands/arms/torso. Some student instruments have excellent layout for certain hands/arms/torso. Therefore the ststement is not worthy of being heeded in its currect form.

[Gordon (NZ)]

Going over the break is very, very difficult unless the low keys are adjusted with excellent pad seating and linkage. This is almost never the case with a new instrument. A beginner has enough problems without this too. I suggest you get the instrument checked, or check it yourself. One section at a time, put a cork in the end, close the keys, and blow in the other end.

Even with LIGHT pinky finger pressure on the key used for B-over-the-break, either left hand or right, WITHOUT the other pinky down, there should be no sound of escaping air.

[retread]

OK, Gordon, you old sweet talker. I'll amend my statement to say I find Leblanc clarinets very well suited to my physiology, as do many other people. The pinkie keys, in particular, just seem to facilitate moving from one to the other. Your mileage may vary, especially if you have unusual pinkie fingers.

Exercise book? I like the Gustave Langenus, Complete Method for the Clarinet.

[Anji]

I hope you find clarinet playing a reward unto itself.

Playing clarinet definitely improves my sax playing, and reveals possibility of technique on both horns.

*****
Chirping and squeaking are absolutely normal.
They are unfortunate consequences of the clarinet design (quid pro quo)
that are the obverse of open toneholes and good sound.

As to practicing, you're on the right track with slow tones.
Get a metronome, and practice at 60bpm (or so).
Play a chromatic scale, taking a breath every four beats, connecting the notes as smoothly as you can.

Let the metronome count a beat for your breath, and continue.

You will find (as do most of us) that when you are playing with just one or two fingers in your left hand down, that getting all the air to reach the bell for your 'long notes' (B-flat and C) takes some OOMPH.

When playing through the scale, try to have enough air to reach B-flat
so you can connect them 'crossing the break'. My teacher discourages taking a breath between A and B-flat (also above the staff, C to C#).

As you get some facility with the chromatic scale (you did play ALL the notes, dincha?), SLOW the metronome to make each tone longer.

As you play more slowly, you'll develop a feel for the instrument.
You should also begin to hear yourself, and that's perhaps most important for progress.

Lastly, about your clarinet...

THE VITO IS JUST FINE!
These are good horns, and play quite well.

If you must spend money, please consider the following heirarchy:

(In descending order of return on your investment)

Good quality reeds
Lessons
A mouthpiece that fits YOU best
A pricier clarinet

[JfW]

I have no idea as to what theory it is that states that open holes on a clarinet produce a better sound.

[otomah]

Makes a smear easier.

[Anji]

There is no impediment to the sound column escaping from an open tonehole. Pads (or fingers) blocking the exit of the sound column cause difraction, redirection and pitch changes.

Re: Benade, and the "Fundamentals of musical acoustics"

Pads and keys are just extensions of your fingertips, to make things easy.

[tubbycub]

The bridging is already a difficult technique to learn. How about high notes?

I have a problem getting high notes from high D and above. I would either get a thin harsh tone or a squeak. But I have no problem getting this note on the flute. Getting a high note on the clarinet is like getting an altissimo note on the sax. But such high notes are inevitable as they are considered to be in the standard range and much music have such notes written.

[Gordon (NZ)]

I have no idea as to what theory it is that states that open holes on a clarinet produce a better sound.

From my observations of fuzzy sounding notes on clarinets I service, I would suggest that as a general rule, the smaller the diameter of the tone hole, the more important it is for adequate venting to reduce fuzzy buzzy sounds.

I am certainly not an expert on instrument acoustics, but I have observed that the air in a tone hole (relevant for any given note) is vibrating up and down the tone hole. If the tone hole is narrow, the air travels faster in the process of this vibration. For the smallest tone holes you can feel it if you substitute a finger for the key. This fast travelling air is more likely to become turbulent if a pad is close enough to restrict its movement. Turbulence means that the flow SUDDENLY becomes far less efficient. (This can be demonstrated by gradually kinking a garden hose until the flow of water inside the hose is turbulent and noisy.) Supposedly this tone hole inefficiency is what creates the buzzy sound.

Some acoustics expert may correct me. All I know is what I observe, and some fluid flow concepts from my engineering study.