Clarinet Response and 'The One Handed Scale'
One of more challenging early stages of clarinet learning is gaining control of the upper clarion register, specifically G3 at the top of the staff through to C3 and the first notes entering the true upper range, C# and D. I certainly remember to this day how these notes at first felt very 'wild' and later I well remember struggling with both consistent and accurate pitching and placement of this range. I wish I knew in my youth what I know now but that was not available to me!
As a teacher I feel that a great opportunity is almost always missed when introducing this register to a younger player. The mistake so often made is introducing the expectation that the upper register plays simply with the addition of the register key to the lower register fingerings. Reliance on the register key alone, while possible with reasonable effort, does not prepare the player (of any age) for the sympathetic placement and shaping that should take place in the aural cavity in order to play and tune this register most reliably. This is best accomplished by understanding that
the register key is an aid to sounding these notes but it's performance is not automatic.
In my own regular practice and in my teaching now I use the production of harmonics to make sure that I have correctly shaped my airstream and to play this upper register properly. With a higher, lifted placement of the tongue, and careful application of a sufficiently pressurised airstream,
it should be possible to sound the entire clarion register by simply repeating the lower chalumeau register fingerings (low E through open G2) - w
ithout using employing the register key. Admittedly this takes a bit of practice and a some patience of course but it teaches a number of very useful concepts
- 'hearing' and anticipating the feel of upper notes before they are begun
- correct balance between reed strength and embouchure pressure
- increased reliance on air support
- decreased expectancy on lip pressure as a part of the playing of 'high' notes
- stability and predictability of pitch
- increased resonance for all pitches as unnecessary lip pressure is discarded
If regular practice of these 'overtone' harmonics is encouraged early enough many of the problems of producing the upper register tones simply disappear.
Even if a player has long ago succeeded in understanding this register there is almost certain to be a time when, on his/her Bb clarinet, or more likely an A clarinet, there will be an entrance or a sustained quite passage on a note in the range A3 through C3 where 'something' does not feel right or the notes 'crack' downwards or simply not seem to want to behave. When this occurs it is very unnerving and I well remember how helpless I felt when I experienced this phenomenon for the first time. I sought to find answers in the regulation of the instrument, in changing the key heights venting, experimenting with reed strength and mouthpiece changes - all to only limited benefit. Years later I was introduced to learning to play overtones as above and to 'The One Handed Scale' and these approaches improved my playing greatly.
I was introduced to
'The One Handed Scale' by clarinet designer, acoustician and performer Tom Ridenour and I wish to acknowledge him and thank him for the time and interest he displayed in showing me this. The production is simple and I would encourage all clarinet players to give it a try:
Staring with long fingered middle C2, utilising the RH F/C key play the first 5 notes of a C major scale exactly as normal - including use of the register key. When ready to play the 6th note, A3, replace your fingers on the starting fingering for C2 and 'think' and shape higher, as if to 'miss' the note deliberately, and if you are fortunate, you will be able to sound an admittedly false sounding A3 as an harmonic of C2. For the next 2 notes simply finger middle register D2 and Eb2 while continuing to 'think' and 'shape' for the harmonic register.
You will have played your C major scale and only have used your right hand! 'The One Handed Scale'.
If you find the A3 difficult to sound you are not alone. Acoustically it is the weakest harmonic note of this range and requires the most shaping from the player. Sometimes it is easier to access it and learn the proper feel to expect by descending from overblown fingered Eb2 (sounding C3) going to fingered D2 (sounding B3) and then working to settle into fingered C2 (sounding A3). Experiment with tongue, air and lip positions to improve the pitching and resonance of these notes. The difference when one returns to 'normal fingerings' is remarkable and can make a huge difference to how you feel about this register. If you have enjoyed this process you can, of course, expand upon the ideas expressed above and apply the principal of overblown harmonics to a number of other scales and passages where this sort of practice might help improve the results of 'normal' playing later. It can be great fun and a useful challenge for anyone. Best wishes.
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The
tips and comments above are the result of many years of providing help and advice, my
personal interest and study, and the teaching that I have done during
my career. I have many colleagues and teachers to thank for
sharing their thoughts and suggestions on this and other topics. In addition I am
indebted to
Woodwind & Reed,
Cambridge ( www.wwr.co.uk ) where, in the
course of helping customers, many of these concepts have been refined and have proven helpful.
Thomas Dryer-Beers
