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#16 Guest: jasonbird_*

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Posted 26 February 2004 - 01:29

Thanks to your reply.

How about the ligature? any suggestion? could I try a leather one?
What do you all using on that?

Could you tell me how to produce a darker and warm sound?
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#17 Guest: DavidMusic_*

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Posted 26 February 2004 - 07:20

The only answer is 'get better'

You know, to get a good tone on any woodwind instrument takes a lot of practice, and comes with time.

A stronger reed, a denser mouthpiece and (sometimes) a leather ligature can help, but make sure you're going for the definite sound you want - I play classical and jazz so I use a plasticover 4 reed, which is about as hard as playing with a brick, but sounds gorgeous. Damned loud though!
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#18 Guest: happymusic_*

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Posted 13 March 2004 - 16:23

hey! I'v read all of the replies etc, and one thing i'v noticed is that you seem to be jumping the gun! slow down! it takes time to develop tone etc! i did my grade 8 last year and managed to get a ditinction, i'm only 17, but since then my tonal qualities and technique are forever changing! it takes time and so i wouldn't worry too much about it at the mo, just try to master the clarinet and the note learning, everything else will come with time. As for the reed issue! again it'll take time! so just stop and enjoy wat u r doing at the moment!
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#19 Guest: LavaLampMaster_*

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Posted 13 March 2004 - 16:51

for the leather ligature: Yes. I use one on both my Bb clarinet and bass clarinet. Major tone enchancement with it.
Mouthpiece: go for a Vandoren 5RV Lyre mouthpiece, it's the best I've found.
Try and learn a Van.3 if you can.
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#20 Guest: jasonbird_*

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Posted 15 March 2004 - 04:41

Thanks to all of you.

I have bought a BG Leather ligature(standard and super revelation) and use a B40 mouthpiece.
But my accompanist found that there is more "air" sound in it.
is there any problem on my embouchure?
is it because of the leather ligature or the B40 mouthpiece??

Should I back to the 4C mouthpiece?



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#21 Guest: LavaLampMaster_*

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Posted 15 March 2004 - 05:03

if you can afford it, as I said, go for the 5RV lyre mouthpiece. It produces a nearly professional tone with my cheap ($300) plastic pawnshop clarinet, so it should work wonders with you .
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#22 Guest: purple dolphin_*

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Posted 21 March 2004 - 18:06

The thing with rico reeds tho is that if you play a rico 4 is the equivalent of a vandoren 3 1/2. I find Vandoren 3 1/2's a much better reed than any others i've played.

Also if ur considering changing ur mouthpiece, a buffet 125 is really good. I started on a 4C until i got my own clarinet, and i found the change brilliant.

If u want to change your whole clarinet tho, you need to try loads, i tried about 10 before deciding on an E13, which has proved to be a really good model, that gives excellent tone quality as long as you use a strong reed.

Oh yeah, and if you can't play a new 3 1/2 or 4 reed, soak it in a cup of water overnight. It makes it so much easier to play and the tone sounds exactly the same. Try it, everyone i no who's used it says it's brilliant.

Good luck

Purple dolphin biggrin.gif biggrin.gif biggrin.gif biggrin.gif biggrin.gif
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#23 Guest: jasonbird_*

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Posted 23 March 2004 - 09:05

wink.gif

What's the Buffet 125 mouthpiece? I didn't find it in Vandoren's website...
is it B45 u mean?


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#24 Guest: jo.clarinet_*

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Posted 23 March 2004 - 12:49

jasonbird - I really think you should discuss all these issues with your teacher before buying lots of new equipment!
Although everyone who replies on these message boards is well-meaning, we don't know you or how you play at the moment, so advice that might suit one person could be completely wrong for another! Your teacher is the best-placed person to help you and could save you making some expensive mistakes....
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#25 Guest: LavaLampMaster_*

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Posted 23 March 2004 - 14:48

QUOTE (jasonbird @ Mar 23 2004, 09:05 AM)
wink.gif

What's the Buffet 125 mouthpiece? I didn't find it in Vandoren's website...
is it B45 u mean?

I found it on the internet, but not where to buy one
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#26 Guest: Garkleine_*

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Posted 24 March 2004 - 18:17

hi im janets daughter. my teacher realised i had a lot of xtra air and discovered putting paper under the reed so that the gap between reed and mouthpiece was smaller solved the problem and made my tone a lot better. i was using the 4c yamaha mouthpiece at the time but eventually bought an MI5 one when i was sure it was what i needed. By the way, does anyone know if you can set up two posts from the same computer? Mum doesn't want me using hers all the time. Thanx blink.gif
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#27 Guest: Rosemary_*

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Posted 24 March 2004 - 22:40

I'm sure you can write using your own ID!! Try it and see if it works.......
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#28 TMHeimer

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Posted 30 November 2018 - 05:33

I'll just throw in my 2 cents. I've never learned to circular breathe or double tongue and since 1964 I have found no need to use either. I play a Buffet R13 clarinet, Vandoren 5RV mouthpiece and 2 1/2 Vandoren reeds. All this for decades professionally.


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#29 Ligneo Fistula

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Posted 30 November 2018 - 07:14

Wow! Even for Mendelssohn (Scherzo Op. 61) etc?


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#30 cmw

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Posted 01 December 2018 - 08:58

Hi Jason

 

Lots of good advise from people.

 

1. Your teacher will be able able to help you with this as he is aware of your strenghts and areas for development.

2. Starting from sctratch will be more challenging. I camed back to clarinet playing when I reired have been to music college after leaving school and it took me 2 years to get back to a reasonable standard

3. for me the important "basics" are developing a] a secure embrouchure 2. good breath control 3. Good range of dynamics across all registers of the clarinet and aecure articulation and finger work.

4. Moving through the grade exams at a pace that suits you will help to develop the basics. Ensuring enough teaching and practice at aural tests will allow you to improve and maximise your overall grade mark

5. I also keep a practice journal and set goals to view progress over time

6. With regards to reeds I started on a 2 and worked upto 3 or 31/2. The aim is to use a suitable strength reed which allows you to produce a good tone, variety of dynamics across all registers without feeling short of breath. Circular breathing can be useful but as the clarinetist Michael Collins says there is a time and place for it BUT developing breath control and a strong diaphragm will allow the music to breathe without circular breathing. Circular breathing is used by some professions In the adagio of the Mozart Clarinet Concerto and you can hear and see when it's beeing used.

7. Purchasing a better quality clarinet will improve your tone once you have developed a solid basic technique ranging from about £2000-£4000 [NEW] or more! French makes have a smaller bore with some additional keys whilst English makes e.g. Peter Eaton have the conventional Boehm key system either in French Bore [international] or wide bore [elite]. There are pros and cons in all makes and that is why it is best to try out a range of clarinets once you have set your budget e.g. with an English wide bore clarinet you cannot use off the peg mouth pieces but require mouth pieces which also have a wider bore. Your teacher would be the best person to discuss this with.

 

Regards

Colin


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