Playing C3 on a Bb clarinet

chijazz

15th August, 2012

My 'fear note' is C3 - the note 2 octaves above low C, played with left thumb and octave key only. It sounds reasonably well when I just blow it, but, when tongued, the note is preceded by a rasping noise and sometimes will not sound at all. I play a Buffet R13 Prestige with a Vandoren B40 Lyre mouthpiece. My mender can find nothing wrong with the instrument. F2 (played with the same fingering, save for the octave key) sounds properly and notes above C3 present no more than the expected difficulty. Adding a right pinkie on the Eb key lessens, but does not solve the problem. Any suggestions?

ChiJazz
 
This is a very interesting question. I would first check the small pad that closes when you press the thumb ring with a feeler gauge to see if the pad is closing completely. That may effect the response of the high C. A cassette tape leader, or a cigarette rolling paper cut into a long thin strip makes a good .001" feeler gauge material.

Another thing I would suggest is tonguing 4 sets of staccato 16th notes going diatonically from high G up to high C, increasing the speed of the air as you go higher. If this works all the way up to and including the high C, keep practicing this exercise being conscious of the tongue placement and airstream that is working. When this becomes solid and repeatable, then try starting on the high C itself, being conscious of any changes you are making if all of a sudden the old problem reappears.

Let us know if you find a cause and/or solution. As I said this is a very interesting problem.
 
C3

Thanks to you both. My teacher said that she suspected user error, but couldn't see what it was. I did ask her whether she could play the note cleanly; as I recall, she could; but I shall ask again. And I'll certainly check the pad operated by the octave key again.
 
ok its been 25 years since i saw the light & gave up the clarinet...:)

but there is an Étude in the Rose book that specifically adresses this issue. the entire piece is nothing but coming in & out of that high C with various attacks & dynamics, etc... I distinctly recall spending several weeks on it, my 2nd time back in conservatory, with Philly opera Co;s principal. Mon Dieu, he was a patient man....
 
CHasR said:
ok its been 25 years since i saw the light & gave up the clarinet...:)

but there is an Étude in the Rose book that specifically adresses this issue. the entire piece is nothing but coming in & out of that high C with various attacks & dynamics, etc... I distinctly recall spending several weeks on it, my 2nd time back in conservatory, with Philly opera Co;s principal. Mon Dieu, he was a patient man....
Click to expand...

That's an interesting name for a clarinet teacher.
 
chijazz said:
Thanks to you both. My teacher said that she suspected user error, but couldn't see what it was. I did ask her whether she could play the note cleanly; as I recall, she could; but I shall ask again. And I'll certainly check the pad operated by the octave key again.
Click to expand...

oops .. my post never stuck it seems from the other day.

so .. in short ..

On professional players they have the ability to overcome certain issues.
As one learns on an instrument you could be basically unable to overcome some issues.

That normally isn't your fault. There are ways around it with airstream etc (read this problem I had on my VII tenor which was clearly the instruments but you hear about it all the time as players go on that mpc hunt everytime they try a new horn http://www.clarinetperfection.com/saxaqueaky.htm )

but sometimes it is the instrument as above. A clarinet register key is, well, "key" to the high notes. If it is too close it can cause the player some issues when it comes to the internal airflow/resistance of the instrument which assists the player in playing higher notes. The register placement and hole diameter affects alot. Too big and it can cause issues. Too small and tone falls off a cliff and other issues crop up. Too close (which is easy to test) and other issues arise. But many issues can be corrected by airstream .. or a better setup.

A little beyond that, the "Balance" of the instrument's resistance is key to ease of playing between registers and jumps and notes in general, assuming all else is properly setup.

I recently did a Buffet Vintage "A" clarinet which played really well. But I balanced out the playing resistance top to bottom and it played much more smoothly and easily - dealing with key height in intonation and setup for a smooth resistance top to bottom. It was a pleasure to do (I also fixed his Bb) as since he was trying out for the President's Marine Band I barely charged him anything for it considering the amount of time I gave them.
 
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