Crossing the break on the clarinet is easy

The following is a comprehensive list of what clarinetists need to do to successfully Cross the Dreaded Break:

  1. Put the correct fingers in the correct places at the correct time.
  2. That is all.

I frequently meet young clarinetists who have been taught that a successful Crossing of the Dreaded Break requires many other things, including but not limited to:

Photo, MikeBlogs
Photo, MikeBlogs

If breath support, embouchure, and voicing are correctly established, then Crossing the Dreaded Break ceases to be a Thing. It’s just another note: a moment ago you were playing B-flat, and now you are playing B-natural. As long as your fingers get where they are supposed to go, then that’s all there is to it. Personally, I don’t even use the word “break” with a beginning student—there’s no need to get them all uptight about what really is a non-event.

If you are a band director or teacher of beginning (or advanced) clarinetists, and you find that they have difficulty crossing the break, you must first diagnose basic tone production issues:

  • Are the instrument, mouthpiece, and reed of basic decent quality and in good functional condition?
  • Is the breath support firm and constant?
  • Is the voicing nice and high?
  • Is the embouchure well-formed, without excess tension?

If not, (re-)teach these as basic concepts of clarinet playing, not as special things to be done at Dreaded Break-Crossing time.

If all is well with basic tone production, then all that remains is to move fingers. Granted, a stepwise break crossing does mean that many fingers must move precisely at the same time, and this may require training and practice. But if the fingers are covering and uncovering the right holes in unison, then a successful crossing is assured.

Crossing the break is only as hard as you tell your students it is!

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  • Clarinet pinky fingerings

    Recently I discussed the topic of clarinet “pinky” (little finger) fingerings with my woodwind methods class. With all that school band directors have on their plates, it’s not surprising that this topic doesn’t always get taught thoroughly to beginners. It can be a bit of a puzzle to a non-clarinetist, but the important concepts can be mastered with a minimum of effort if they are taught clearly.

    This is an important thing for woodwind doublers to understand, too, since they may be bringing with them some fingering habits that worked well on their other instrument(s), but which may not apply to clarinet in the same way.

    The following notes on the clarinet require use of a pinky key:

    These notes require left hand pinky These notes require right hand pinky
    left hand pinky notes right hand pinky notes
    These notes use EITHER left or right hand pinky
    fingerings using either pinky

    Pinky keys are also used in the altissimo register, in resonance fingerings, and so forth, but for today we’ll focus on the notes in the chart. If you’re unfamiliar with the fingerings, check them out at the Woodwind Fingering Guide.

    The crucial decision-making deals with the notes in the last row of the chart, which each have two fingering possibilities—one using the left pinky, and one using the right pinky. If your clarinet is in proper adjustment, there shouldn’t be a difference in tone or intonation between the two fingerings, as they open or close the same toneholes. (With a poorly-adjusted clarinet, it’s possible for, say, one fingering to open a certain pad wider than another pad, perhaps affecting pitch and tone.) So our only criterion will be ease and precision of fingering.

    Consider this passage, and we will walk through a systematic thought process for selecting fingerings:
    example 1

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  • Woodwind doubling and oboe problems

    There’s an increasing expectation that woodwind doublers be competent and confident oboists. It can be a challenging double, but a worthwhile one. Many of my doubling gigs have come to me because of my ability and/or willingness to play the oboe. And even though it’s not my strongest instrument, there are considerable spans of my career during which I’ve made more money playing the oboe than any other instrument.

    Here are some of the common problems woodwind doublers, often coming from background in the single reed instruments, have with the oboe:

    Fingering awkwardness. Dedicated, conscientious practice of scales/arpeggios and technical material goes a long way here, but there are some additional considerations specific to the oboe.

    First, the oboe’s toneholes are rather widely spaced, maybe surprisingly so for clarinet and saxophone players. (This has to do with the oboe’s very narrow bore—the toneholes have to be quite small so as not to catastrophically weaken the instrument’s body, which means they have to be spaced widely to produce a scale.) This can be a cause of tension. Work diligently at keeping your hands relaxed. If it helps, use a neckstrap to further reduce hand strain.

    Second, the oboe, more than the other woodwinds, tends to have more keys the more you pay for it. It’s very worthwhile to save up for an oboe with a left F key, and to learn to use it fluently. The left F key should be seen as part of the instrument’s core fingering technique. Many of the other keys available on professional or semi-professional instruments are less-used, but valuable in specific situations.

    Uneven tone and intonation. The oboe requires a very low voicing, lower than a saxophonist is used to and much lower than a clarinetist is used to. It also offers little forgiveness for weak or inconsistent breath support. Learn to balance low voicing against steady support to even out the instrument’s sound and stabilize its pitch. (Like fellow conical-bore instruments the saxophone and the bassoon, the oboe’s response suffers particularly in the lowest register when your voicing is too high.)

    Similarly, embouchure should remain open, not pinched, regardless of register. Remember that the embouchure’s function is to be a mostly-passive gasket between your air system and the instrument. Resist the urge to bite when moving into the highest register—rely on good breath support instead.

    Overall response sluggishness/unreliability. My experience is that many, many intermediate (and especially self-taught) oboists are playing on reeds that are far too stiff. If your notes won’t respond reliably and delicately at a soft dynamic, and you’re sure your breath support, voicing, and embouchure are working well, you should consider a more responsive reed.

    Because oboe reeds are so susceptible to change, the best way to sound like a pro reed-wise is to spend a few years’ worth of lessons learning to make (or at least adjust) them yourself. Failing that, it’s worth it to buy reeds face-to-face from a good reedmaker, rather than from a music store or a distant internet reedmaker, so that they can adjust them for you on the spot. Reeds from a local reedmaker are also adapted to your altitude and climate.

    Another important and ongoing concern is adjustment of the instrument itself. The oboe has many adjustment screws that need occasional tweaking. It’s best of course to learn this art under the supervision of a good teacher. But if you’re mechanically-inclined and have a good oboe technician standing by to bail you out, there are a number of books and resources that explain the method in a clear and methodical way. A small tweak here and there can transform a stuffy, stubborn oboe into a responsive, cooperative instrument that is a joy to play.

    Approach the oboe on its own terms, equipped with good reeds and a good grasp of tone-production fundamentals, and enjoy!

  • New York Times blog: Steve Gorn

    The New York Times’s “Lens” blog did a nice piece on Steve Gorn, a woodwind doubler who has turned his primary focus to the bansuri (Indian bamboo flute). Surf on over to see a nice photo and hear audio of an interview/performance. (Both photo and audio feature Gorn’s soprano saxophone playing.)

    Steve Gorn on his beginnings as a woodwind player:

    I advanced relatively quickly with the clarinet. When I got into eighth or ninth grade I got into a lot of jazz, and I started playing saxophone at that point. Jazz became much more of a focus. I played clarinet in the school orchestra.

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  • Creating fingering charts with diagrams from the Fingering Diagram Builder

    My Fingering Diagram Builder has been around for a little over five years now. I was careful to name it the Fingering Diagram Builder instead of the Fingering Chart Builder because it is a tool for creating individual diagrams, not for assembling them into comprehensive fingering charts. But the difference can be a little confusing, so I get frequent questions from users who complain that they can’t figure out how to create and download a “chart” with multiple fingerings on it.

    The reason I didn’t try to build a complete system for creating fingering charts is that I assumed users would have widely-varying needs, and would do better to assemble charts using some other kind of software. Here are a few examples of how that might be done, using music notation software, using a word processor, and using a text editor to create HTML code (such as for a website). All the software I’m using here is free to download on Windows, Mac OS, and Linux, but whatever free or commercial programs you are already using probably have similar features. You’re on your own to work out the details (and feel free to share them in the comments if you are feeling helpful).

    Creating a fingering chart in music notation software

    I am using MuseScore here, but commercial software like Finale and Sibelius and other free software like LilyPond could be used in similar ways.

    First I set up a musical “score” with the notes for the chart. I used whole notes, separated by double bar lines, but that’s up to you.

    MuseScore setup

    Next I created my fingering diagrams in the FDB. I sized the diagrams “tiny” with “thick” lines.

    Adding the diagrams to the score is very simple in MuseScore—I just dragged the downloaded diagrams from my file manager right onto the score. If I drag the diagram and hover it on top of a note, that note gets highlighted. Then I can release the diagram and it attaches to the note.

    musescore-drop

    Initially the diagrams are placed right on top of the note. I selected the diagrams and used the Inspector panel to give them a horizontal offset of -2.5sp and a vertical offset of -10.5 sp, which moved them above the staff, more or less centered above the noteheads. I adjusted the A and tenor B-flat fingerings’ horizontal offsets a bit more to make them look just right.

    Here is the finished product, a small chart with a few bassoon fingerings:

    bassoon-fingering-chart-sample

    Creating a fingering chart in word processing software

    I am using LibreOffice Writer, but something like Microsoft Word or Apple Pages would work just as well.

    First I opened a new document and inserted a table. My table has three rows and seven columns.
    writer-table

    Then I dragged the downloaded diagrams from my file manager into the bottom row of the table.

    writer-diagrams

    I merged some cells together, dragged in some images of notes on staves, and added some text.

    writer-complete

    A few more little tweaks and here is the finished chart:

    clarinet-fingering-chart-sample

    Creating an HTML fingering chart in text editing software

    This code be used in any text editor or HTML source editor, and of course similar results could be accomplished with a visual/WYSIWYG editor. I’m not showing complete code here, just the most relevant parts.

    I started with a framework for a table that I could use to show a note with two alternate fingerings. (This is a flute fingering chart with horizontally-oriented diagrams. For an instrument with vertically-oriented diagrams, you may want to rearrange things a bit.)

    <table>
      <tr>
        <th rowspan=2><!— note image here —></th>
        <td><!— first fingering image here —></td>
        <td><!— first fingering text here —></td>
      </tr>
      <tr>
        <td><!— second fingering image here —></td>
        <td><!— second fingering text here —></td>
      </tr>
    </table>
    

    Then I plugged in <img> tags and text:

    <table>
      <tr>
        <th rowspan=2><img src="images/f-sharp-note.png" /></th>
        <td><img src="images/f-sharp-standard.png"</td>
        <td>Standard</td>
      </tr>
      <tr>
        <td><img src="images/f-sharp-trill.png"</td>
        <td>Trill from E</td>
      </tr>
    </table>

    I duplicated that code for additional notes. Since this is a sample alternate/trill fingering chart, each note has at least two fingerings. For notes with more fingerings, I added <tr>s and changed the rowspan values accordingly.

    I also added a little CSS to spruce things up:

    <style>
      table {
        display: inline-block; /* make tables wrap gracefully depending on screen width */
        margin: 1em; /* put some space between tables for legibility/clarity */
      }
      th img {
        max-width: 8em; /* manage size of note images */
      }
    </style>

    Here is the result:

    flute-fingering-chart-sample

    I hope that sparks a few ideas for you if you are considering putting together a fingering chart. If you have other methods or tips, please share in the comments section!

  • Doubling reminders for the day

    Non-doublers often seem to think that the most amazing thing about doubling is keeping all the fingerings straight. I don’t find that to be a major problem; the keywork of each instrument feels different enough in my hands that I think I tend to switch into the right fingering mode automatically.

    It’s the other stuff that’s a problem. I find I often need to give myself a few reminders as I’m setting down one instrument and picking up the next. Here’s the stuff that has been going through my mind lately—maybe one or more of these will click for you, too. Read More “Doubling reminders for the day”

7 Comments

  1. AMEN!!! I can’t tell you how many clarinet students I’ve come across that can’t cross the break, only because they’ve been told how hard it was! As soon as my students can cover all of the holes, I add the register key for them for the first time! (that also means, they spent a lot of time getting the embouchure correct before the clarinet was even put together!) My 7 y/o student, who’s hands are barely big enough to cover the holes on an Eb clarinet, is now playing over the break with ease. If we don’t make a big fuss about it, they’ll never think otherwise.

    Great post Bret!

  2. My kids don’t know what “The Break” is! I never use that term in my class. The first note that I teach them is the low G, teaching them to cover all the holes. The first exercise I teach them is “Joy to the World”, starting on thumb F. It comes down to covering the holes, as long as the clarinet seals properly. You would be surprised how many of the low pads come with leaks from the rental shop!

  3. I have 2 anecdotes concerning “The Break”.

    First, for me, as an adult beginner on clarinet (with experience as a saxophonist), I despaired of ever being able to play the darn thing without squeaking on every other note. The Break was a challenge I wondered if I’d ever be able to overcome. I can now play across The Break, but it took a lot of time in the woodshed to get there.

    On the other hand, my daughter began clarinet in 3rd grade, when our elementary band starts. One day, the teacher marveled that the clarinets had just crossed The Break. She had no idea what the fuss was about.

    So maybe it’s just that old saxophonists have problems with The Break. :-)

  4. Brett has this nailed—
    “If breath support, embouchure, and voicing are correctly established…”

    And the same thing for altissimo—just part of the clarinet.

    Similar for me coming to saxophone from clarinet to being able to play low notes on saxophone at any dynamic; correct voicing and breath support.

  5. Sax is my primary instrument and clarinet is one of my doubles. I was doing way too much work with throat and embouchure changes, so my teacher took my clarinet and had me sit down beside him. He held the clarinet up to me and said “form a good embouchure and blow.” So I did, and he proceeded to rip some amazing licks out of my clarinet, going over “the break” many times without a glitch. That was a real light bulb moment for me. I was my own worst enemy when playing clarinet. Because I didnt know what notes were coming next it just wasn’t possible for me to anticipate the notes I was afraid of and do the wrong things with my embouchure that had become habit over decades of playing without a teacher. A fundamentally good embouchure and breath support are just that – fundamental to good clarinet playing. It’s not exactly “set it and forget it” but it’s often closer than we are led to believe.

  6. I thoroughly approve of that type of thinking. I learnt the saxophone 35 years ago and it seems much like whistling in it’s difficulty level, but suddenly I need to start playing clarinet – and ‘the break’ was what has always put me off. I find, however, that if I stab about for notes using my knowledge of theory and how the instrument works I am gradually crossing it without really knowing any particular difficulties.

    As for the ‘key change’ that appears as you go between registers, that is currently proving annoyingly difficult.

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