Hi Jay - thanks for putting out this episode - i am largely self taught and so my question is: is it possible to use these overtones while playing and if so, how do i get straight to the higher note without the register key. Or is this just an exercise to improve tone
Hi Wayne Thanks for watching! I don’t think there is an application for overtones in performance. However, when we get to the altissimo all the notes are overtones (when our first finger (left hand) comes up. Initiating a note without the register key is a great practice to refine our overtone practice and tone control. Unfortunately, the pitch being so weird with the overtones makes them not something that have a performance application. Would you let me know if there are any topics you would like covered so I can make things that would be most helpful? I would love that!
@@clarinetninja Thank you for your response Jay - I am using your advice and I am getting what i think is good success with this overtone practice - keep the advice rolling ;-)
@@clarinetninja a topic i would like to see is one which discusses when a reed is past its prime and what to look for when selecting a few reeds to carry with me
@@waynepinto5539 great idea! I have a video all about reed cases ready to go. It's a pretty lighthearted look at 25 years (or more) of reed case usage and all the silly things to keep in mind. I should (and will)!) make the the videos you suggest that would be a natural fit to go along with it :)
Thank you for this video Why I just saw this? Finally, I see someone do video about overtones and voicing, when I was in high school and knew this it's really help me to improve my tone to another level
I am glad you found it useful! I really believe it's the most direct route to finding our own sound and controlling the clarinet. Are there other topics you would like to see videos about? I would love to make them!
I haven't done it. I would love to have my friend Evan Christopher make one with me. I can voice like him, but the sound I get is not the same as his (by a long shot). I will see if I can get him to come over and do the video with me.
Hi Jay, I've incorporated your overtone excercise in my warm-up routine for almost 2 years, and I still find the phrase starting on low G (6 toneholes covered) almost impossible to complete; as soon as I release the reg. key, the tone rumbles from clarion D back to G. Mind you, the 3 notes further below aren't easy either (F#, F and E) but doable. I've tried to conquer the G3/D5 phrase with a zillion variations in air speed/support, voicing, jaw position and embouchure, but I can't seem to get it right. Now my question is: Is that particular phrase particularly difficult due to some inherent feature of the clarinet acoustics, or is there a secret to it, I haven't figured out?
I have worked with other people that have a similar challenge. There is a chance (and I say this as a shot int he dark) that the lowest tone hole - the C/F key tone hole - is too open or too closed. Have you tried this with multiple clarinets in order to investigate something like that? That would be my first suggestion to get that piece of information before I searched elsewhere
Is there a way to keep the altissimo sounding "pure" and steady? When im using a tuner, the lines have alot of fluctuation, and im wondering if its maybe some small movements in embochure? Will this improve as i do more pong tones?
Altissimo notes move much more than other registers when there is a slight change in our embouchure, air, or tongue position. I would do exercises that check those things individually and then make sure you have them all working for you in the upper register. Once you figure out what it is, it will be hard to remember a time when you had this problem.
@@clarinetninja Okay that makes sense. I think ive isolated it to my tongue. It seems like my tongue wants to gradually drop and not stay in that eee position for some reason.
Morning Jay! When I play the clarion C and I release the register key to go down to say chalumeau A, it sticks in the clarion. Any help? Do you have a video on going from upper registers down the break? Thanks and 😘 AR!
Mornin! You bring up a great question. Thank you! I was hoping for a video idea to appear from somewhere (as if by magic) and you have appeared as the magician! I have an exercise I do that I will write out. The thing I learned a long time ago, that I still totally do, is tongue imperceptibly on the chalumeau note. I think a teacher I had used to call it ghost tonguing. Or maybe I called it that in my head. Hope this helps….i will make the video soon. Thank for the question/idea:)
There can be various causes of a breathy sound. Make sure your reed isn't too hard. Make sure it's good and wet on the underside (the side against the mouthpiece). Use a fast, narrow, well supported stream of air (think cold air).
Hi Larry! My guess - as acoustics are certainly above my pay grade - is the it is related to the missing “every other” overtone because flute and saxophone resonate their overtones very well in tune. As a matter of fact, they are used as tuning exercises. Sort answer - yes?:) I think. I thought if you the other day. I did a video on student mouthpieces. I remember your financial lament. That Glory mouthpiece for ten bucks is pretty darn good.
Jay, thanks for the explanation! I'm self-taught beginner, and I have actually the opposite problem: while playing the higher notes (concert F, G) of the lower register, it happens that the tone switches into overtone, without pressing the register key! I thought it is a too weak reed and switched from 2.5 to 3, but still happens. The switch up to 3 only had the effect that my sound becomes more airy (surely I need to work on this). Could you perhaps explain what could be wrong with the embouchure if I accidentally get into the overtones? I understand it could be due to taking too much mouthpiece in - but I checked and its not that. Thanks!
Hi Jeanette! I am not sure I totally understand (I think you are saying that clarinet notes second line "g" and 2nd space "a" are the notes in question. If that is the case, I would certainly get somebody to check to see that your trill key pads are closing all the way. (the trill keys are the top two of the side keys that you press with your right hand - on the side - up from Bb/Eb). I can say with reasonable certainty that the problem is NOT your reed being too soft. if your clarinet is working properly, I would also check to see that your ligature is on tight enough. This is not likely to be the problem. It also could be related to the "hold" you do or do not have on the mouthpiece when you don't have and fingers down. The balance of our instrument can shift in those moments and give us unpredictable results. I would have somebody make sure your clarinet is working properly and then move on to less likely causes. Please let me know if any of this is helpful. :) I hope it is helpful at least a little bit My firs
Hi Jay, a quick update: I went to have the clarinet checked out, they adjusted the little screw at the G# key to make sure the A key doesn’t accidentally lift the G# which would certainly lead to the undesired jump into high register. But, that also wasn’t it. Experimenting with my embouchure I found that I can eliminate the undesired register jump by forcing the position of my lower jar further inwards my mouth. In other words, it seems my natural jar position doesn’t have enough “overbite”?? It surely feels a bit unnatural to me to shift my lower jar backwards - but that does the trick! Probably the lower jar causes too much pressure onto the reed when I just naturally close my bite, and that causes the register jump. Hmmm. I’m coming from playing saxophone, I must say the clarinet embouchure is much less forgiving! :-)
@@jeannyweed getting that screw adjusted is a real thing. While it may not have solved the problem entirely, I’ll bet it is contributing to future success. What you are talking about with the jaw is a real thing as well. It doesn’t usually get addressed until much later on. I have found it less crucial on saxophone but useful there too. In the long run, for me, it has been much easier on my jaw. It makes it less intuitive, for me, to “bite down” and the reed is happier with me when I do it. Glad to hear that there are steps in the right direction!
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Hi Jay - thanks for putting out this episode - i am largely self taught and so my question is: is it possible to use these overtones while playing and if so, how do i get straight to the higher note without the register key. Or is this just an exercise to improve tone
Hi Wayne
Thanks for watching! I don’t think there is an application for overtones in performance.
However, when we get to the altissimo all the notes are overtones (when our first finger (left hand) comes up.
Initiating a note without the register key is a great practice to refine our overtone practice and tone control. Unfortunately, the pitch being so weird with the overtones makes them not something that have a performance application.
Would you let me know if there are any topics you would like covered so I can make things that would be most helpful? I would love that!
Short answer, yes this is to improve tone and control over your sound so you get to sound like you want to
@@clarinetninja Thank you for your response Jay - I am using your advice and I am getting what i think is good success with this overtone practice - keep the advice rolling ;-)
@@clarinetninja a topic i would like to see is one which discusses when a reed is past its prime and what to look for when selecting a few reeds to carry with me
@@waynepinto5539 great idea! I have a video all about reed cases ready to go. It's a pretty lighthearted look at 25 years (or more) of reed case usage and all the silly things to keep in mind. I should (and will)!) make the the videos you suggest that would be a natural fit to go along with it :)
Thanks for the video Jay! My favourite line: “…this is about playing with a normal… oh god…” 😂
its been a while since I made this one - but I imagine I stop myself from using my own vocabulary and switch to yours right?
Thank you for this video
Why I just saw this?
Finally, I see someone do video about overtones and voicing, when I was in high school and knew this it's really help me to improve my tone to another level
I am glad you found it useful! I really believe it's the most direct route to finding our own sound and controlling the clarinet. Are there other topics you would like to see videos about? I would love to make them!
This is a good demo on clarinet overtones.
Thanks!
Did you do the 'New-Orleans-Jazz-Voicing' video? Would love to see it.
I haven't done it. I would love to have my friend Evan Christopher make one with me. I can voice like him, but the sound I get is not the same as his (by a long shot). I will see if I can get him to come over and do the video with me.
@@clarinetninja now that would be absolutely AWESOME 🙏🏼
very nice
Hi Jay, I've incorporated your overtone excercise in my warm-up routine for almost 2 years, and I still find the phrase starting on low G (6 toneholes covered) almost impossible to complete; as soon as I release the reg. key, the tone rumbles from clarion D back to G. Mind you, the 3 notes further below aren't easy either (F#, F and E) but doable. I've tried to conquer the G3/D5 phrase with a zillion variations in air speed/support, voicing, jaw position and embouchure, but I can't seem to get it right.
Now my question is: Is that particular phrase particularly difficult due to some inherent feature of the clarinet acoustics, or is there a secret to it, I haven't figured out?
I have worked with other people that have a similar challenge. There is a chance (and I say this as a shot int he dark) that the lowest tone hole - the C/F key tone hole - is too open or too closed. Have you tried this with multiple clarinets in order to investigate something like that? That would be my first suggestion to get that piece of information before I searched elsewhere
@@clarinetninja Do you mean the clearence of the pad while open? I will try with all my horns to see if there's a difference. Thank you.
Is there a way to keep the altissimo sounding "pure" and steady? When im using a tuner, the lines have alot of fluctuation, and im wondering if its maybe some small movements in embochure? Will this improve as i do more pong tones?
Altissimo notes move much more than other registers when there is a slight change in our embouchure, air, or tongue position. I would do exercises that check those things individually and then make sure you have them all working for you in the upper register. Once you figure out what it is, it will be hard to remember a time when you had this problem.
@@clarinetninja Okay that makes sense. I think ive isolated it to my tongue. It seems like my tongue wants to gradually drop and not stay in that eee position for some reason.
Morning Jay! When I play the clarion C and I release the register key to go down to say chalumeau A, it sticks in the clarion. Any help? Do you have a video on going from upper registers down the break?
Thanks and 😘 AR!
Mornin! You bring up a great question. Thank you! I was hoping for a video idea to appear from somewhere (as if by magic) and you have appeared as the magician!
I have an exercise I do that I will write out. The thing I learned a long time ago, that I still totally do, is tongue imperceptibly on the chalumeau note. I think a teacher I had used to call it ghost tonguing. Or maybe I called it that in my head.
Hope this helps….i will make the video soon. Thank for the question/idea:)
@@clarinetninja I had that idea in mind but always default to the true well of knowledge! Thanks again!🙏
Are there any tips to reduce airiness or breathiness on the lower register?
There can be various causes of a breathy sound. Make sure your reed isn't too hard. Make sure it's good and wet on the underside (the side against the mouthpiece). Use a fast, narrow, well supported stream of air (think cold air).
Is the change in pitch in the overtones due to the complex bore of clarinet?
Hi Larry! My guess - as acoustics are certainly above my pay grade - is the it is related to the missing “every other” overtone because flute and saxophone resonate their overtones very well in tune. As a matter of fact, they are used as tuning exercises.
Sort answer - yes?:) I think. I thought if you the other day. I did a video on student mouthpieces. I remember your financial lament. That Glory mouthpiece for ten bucks is pretty darn good.
@@clarinetninja I have an old Noblet 2RV that a friend in the states sent to me a while back
Jay, thanks for the explanation!
I'm self-taught beginner, and I have actually the opposite problem: while playing the higher notes (concert F, G) of the lower register, it happens that the tone switches into overtone, without pressing the register key! I thought it is a too weak reed and switched from 2.5 to 3, but still happens. The switch up to 3 only had the effect that my sound becomes more airy (surely I need to work on this).
Could you perhaps explain what could be wrong with the embouchure if I accidentally get into the overtones? I understand it could be due to taking too much mouthpiece in - but I checked and its not that. Thanks!
Hi Jeanette! I am not sure I totally understand (I think you are saying that clarinet notes second line "g" and 2nd space "a" are the notes in question.
If that is the case, I would certainly get somebody to check to see that your trill key pads are closing all the way. (the trill keys are the top two of the side keys that you press with your right hand - on the side - up from Bb/Eb). I can say with reasonable certainty that the problem is NOT your reed being too soft.
if your clarinet is working properly, I would also check to see that your ligature is on tight enough. This is not likely to be the problem.
It also could be related to the "hold" you do or do not have on the mouthpiece when you don't have and fingers down. The balance of our instrument can shift in those moments and give us unpredictable results.
I would have somebody make sure your clarinet is working properly and then move on to less likely causes.
Please let me know if any of this is helpful. :) I hope it is helpful at least a little bit
My firs
Hi Jay, a quick update: I went to have the clarinet checked out, they adjusted the little screw at the G# key to make sure the A key doesn’t accidentally lift the G# which would certainly lead to the undesired jump into high register. But, that also wasn’t it. Experimenting with my embouchure I found that I can eliminate the undesired register jump by forcing the position of my lower jar further inwards my mouth. In other words, it seems my natural jar position doesn’t have enough “overbite”?? It surely feels a bit unnatural to me to shift my lower jar backwards - but that does the trick! Probably the lower jar causes too much pressure onto the reed when I just naturally close my bite, and that causes the register jump. Hmmm. I’m coming from playing saxophone, I must say the clarinet embouchure is much less forgiving! :-)
@@jeannyweed getting that screw adjusted is a real thing. While it may not have solved the problem entirely, I’ll bet it is contributing to future success.
What you are talking about with the jaw is a real thing as well. It doesn’t usually get addressed until much later on. I have found it less crucial on saxophone but useful there too. In the long run, for me, it has been much easier on my jaw. It makes it less intuitive, for me, to “bite down” and the reed is happier with me when I do it.
Glad to hear that there are steps in the right direction!
“You can call me Jay”
Is that a direction, invitation, or reference to something in the video?
im trying these on bass and they arent working once my register key shut it drops back and ive tried different air speed and voicing