• Shuffle
    Toggle On
    Toggle Off
  • Alphabetize
    Toggle On
    Toggle Off
  • Front First
    Toggle On
    Toggle Off
  • Both Sides
    Toggle On
    Toggle Off
  • Read
    Toggle On
    Toggle Off
Reading...
Front

Card Range To Study

through

image

Play button

image

Play button

image

Progress

1/9

Click to flip

Use LEFT and RIGHT arrow keys to navigate between flashcards;

Use UP and DOWN arrow keys to flip the card;

H to show hint;

A reads text to speech;

9 Cards in this Set

  • Front
  • Back
  • 3rd side (hint)

Common Faults in hand and finger position

1. Right thumb:


-pushing the thumb too far under the instrument = no callus development and unnatural angle of fingers to cover holes, squeaking/ no sound difficulty with smoothness


- too close to the thumb nail = muscular tension to support the instruments, and student tires quickly, hand is slightly turned downward making it difficult for fingers to contact the holes and keys in the right way


2. Little fingers: -finger not in good position to contact with a key to be in a position to move quickly and accurately to other keys = slight delay and rough technique


- finger is found hooked under the keys to help support the instrument


3. Fingers over tone holes:


- lifting the fingers too high causes unevenness when moving quickly through passages


- closing the holes with the tips of the fingers due to finger's not falling in Natural curve above the holes creating muscular tension and stiff movement resulting and squeaks and no sound. Wrists are not flat


4 fingers not curved: because of greater or lesser degree of Misplacement of the thumb


5. Left thumb must be positioned to open and close both the tone hole and register key singly or together.


6. first finger left hand: finger hops from the tone hole to the A key rather than rolling= unwanted G gracenote


- pressing the G Sharp key with the side of the Finger by Rolling the entire hand over, or the curve of the finger will increase and pressing the keys with tip of the finger =technical difficulties


7. First finger right hand: pressing the key with the side of the finger causing technical problems


-Finger is pressing against the rod or is hooked underneath keys for support





Common faults in embouchure formation

1. Amount of lip: students with thin lips may need to put more lip over the lower teeth; students with thicker lips may need to use less for quality of the tone being produced


2. Amount of mouthpiece to insert in the mouth based on facial characteristics, the mouthpiece and the Reed for the best tone quality and maximum length to vibrate freely


3. Type of mouthpiece: to help shape embouchure. things to be considered =amount of curvature and size of opening


4. Biting restrict vibration and produces been stuffy tone with little body


5. escaping air from one or both corners of the mouth indicates incorrect embouchure due too relaxed upper lip resulting in lack of control of lower lip support and affected tone quality


6. Chin muscles: failure to keep chin muscles firm hinders good tone quality


7. Puffing cheeks indicates lack of support by the cheek muscles and that breath support is not properly focused and directed into the mouthpiece


8. Dimples in cheek: one muscle is pulling back the corners of the mouth while another muscle is attempting to contract the lower lip resulting in a loss of tone quality and control


9. air pockets under lips resulting in a loss of tonal Control


10. Reed: strength of the Reed affects the embouchure. Thicker reeds require more pressure of the lower lip cushion for control of tone. A reed that is too soft plays flat and will encourage biting.

Double embouchure

Formation where both the upper lip and lower lip are over the teeth

Tuning

Pull out barrel from the upper joint. Instrument is made sharper by pushing the barrel in and flatter by pulling it out. Normal tuning note for band is concert B flat, and the clarinet plays 3rd space C for tuning.

Intonation

It is impossible to produce the even-numbered partials of the harmonic series because the tempered scales are out of tune with the natural harmonics giving clarinetists intonation problems

Reed and intonation

A reed which is too hard makes the instrument Sharp and a Reed which is too soft makes instrument flat

Common problems in tone

1. Worn Reed: student continues to use Reed long after its useful life is gone. Reed is dirty, split or chipped at the tip


2. Small, pinched or muffled tone caused by too much pressure on the Reed with the lower jaw or by having too little mouthpiece in the mouth.


3. Squawky tone which lacks in body and focus. It is uncontrolled and flat in Pitch. It is caused by 1)not enough support for the Reed with the lower lip, 2)poor embouchure formation, or by 3)poor Reed.


4. Hard, cold tone where the tone is inflexible and lacks quality of vitality because the mouthpiece has a lay which is to open and too long, or by a reed that is too hard.


5. Squeaking because the hole is not completely being covered by one of the fingers or by a leaky keypad which must be dentified and replaced, by the Reed, or by incorrect embouchure that puts pressure unequally on the Reed.


6. Weak colorless tone due to lack of proper breathing and breath support.7. Loud,



7. Loud, raucous tone due to too much breath support, a mouthpiece that has a longer lay with an open tip, and with reeds that are too stiff


8. Control of soft tone due to the inability to project a steady concentrated small stream of air into the instrument, Reed is too stiff, mouthpiece is to open, embouchure is shaped poorly.9. Throat tone



9. Throat tone resonance at softer dynamic levels. These tone resonances are sensitive to breath support and embouchure


10. Dynamics and tone quality because of an undeveloped embouchure, tone quality is lost at extremes of loudness and softness


11. The mouthpiece is not of the best quality.


Tonguing

The manner in which the tongue operates in relation to the Reed and Breath support in order to articulate tones

The other clarinets and their ranges

E-flat clarinet sounds a minor third higher than written.


A clarinet sounds a minor third lower than written.


E flat alto clarinet sounds of major sixth lower than written .


B-flat bass clarinet sounds an octave plus a major second lower than written


E flat contra alto clarinet sounds an octave plus a major six lower than written


B-flat contrabass clarinet sounds 2 octaves plus a major second lower than written


(See pictures for ranges)