Here are some of the questions readers sent me in celebration of this blog’s 10-year anniversary. I have edited, combined, and otherwise adapted some of them but hopefully there are answers here for those of you who were kind enough to inquire.
What are your thought on voicings on the various extensions of the big five? I find I get optimal results on flute with low voicing, but on piccolo I use something more similar to high register alto sax.
I tend to be generally consistent within instrument families: low voicing for flute, so also low voicing for piccolo, alto flute, etc. High voicing for clarinet, so also high voicing for bass clarinet. Saxophones are a little different because they require a “middle” voicing, and I do think it’s worthwhile to target each member of the saxophone family precisely. The easiest way to do that is with mouthpiece pitch: a baritone mouthpiece should sound a concert D (a ninth above middle C on the piano), a tenor mouthpiece sounds a G, alto an A, and soprano a C.
I recently purchased a pennywhistle and I’m really enjoying it so far. I was wondering if there’s any specific kind of voicing associated with that kind of instrument. It feels easy to play the lower octave, but going up higher than the fourth or fifth in the second octave is really difficult without absolutely blasting.
For fipple flutes like recorders and pennywhistles (also known as tinwhistles or “Irish” whistles), I recommend a very low voicing, the same as for concert flute or double reeds. Recorders have a thumb hole that serves (sometimes) as a register vent, which tames the upper registers somewhat. Pennywhistles don’t have that—the only way to get to the upper register is to overblow. With some practice and finesse the registers can be balanced somewhat, but with fipple flutes don’t expect nearly the level of dynamic control that you have on a concert flute or modern reed instrument. Bear in mind, too, that fipple flutes generally take much less air than a band/orchestra woodwind.
Some nice handmade pennywhistles are designed to improve the register imbalance issue. (Narrower-bore whistles in particular tend toward a sweeter, softer upper register, but a weaker lower register.) But many professional whistle players prefer the more “authentic” sound of inexpensive whistles, and might try out quite a few to find one that plays well enough.
Thanks for your questions! Voicing is a little-understood, little-taught aspect of woodwind playing.
More 10-year anniversary Q&A
Same is true for the quality of the instrument. Just because it is a second or third instrument, don’t consider getting a cheap instrument. I have tried to get many vintage and used instruments to work such as with the bass clarinet.
This didn’t work. Got a new top of the line bass clarinet and suddenly I could play from top to bottom of the range.
I really appreciate this topic. I am not serious doubler, by that I mean I still have one very strong instrument and then weaker instruments, but I do want to sound like I know what I am doing. With some of the equipment I’m playing on it makes it difficult, and this article made me realize, yes if I’m going to play clarinet it’s time to break down and buy one that is worthwhile.
Bret, I agree with the assertion that there’s really no substitute for time spent practicing your second or third (or fourth or fifth…) instrument but there are some ways to make the your life easier. For myself, as a flutist, I have a real issue with the pressure needed to get a good tone on the clarinet. I recently got a Walt Grabner K14 (his ‘Klezmer/jazz’ style mouthpiece) which has made a world of difference for me. Not as robust as the Backun, but it has made tone production, articulation and just plain embouchure comfort much better for me. I would also agree with Gandalfe that a high quality instrument makes a world of difference. While I don’t feel it’s completely necesary to get an absolute top line instrument, I would highly recomend finding a good repairman (or woman!), nothing can make your life worse than an instrument that’s out of adjustment.
So basically my advice would be to get the best instrument you can afford, get a good quality (and easy blowing) moutpiece or headjoint, and make sure the darn thing works. Then practice!
I’m glad you found a mouthpiece that makes things easier for you. But why should “easier” equipment be reserved for doublers? If a mouthpiece makes the instrument easier to play, wouldn’t clarinetists-only also benefit from it? Or have you selected this mouthpiece because it lets you recycle elements of your flute technique, rather than learning proper clarinet technique (“pressure”)?
I agree 100% with your advice—buy the best you can afford, then practice—for doublers and non-doublers alike.
I’d like to add that equipment works differently for everyone, headjoints, reed/mouthpiece combinations, instruments, are all subject to everyone’s individual standards. Because we all have different bodies, each piece of material will react different for us. I play on a setup that both my teachers probably wouldn’t play on, but they both say that it works for me.
A lot of this will be trial and error, and working with someone else on how it sounds, whether it’s a teacher, or a colleague.
Bret, I really love what you’re saying about equipment here. I think mindset should be added also. To double on flute, you should think and approach it like a flutist, not like a clarinetist who plays flute. I strive, in all my doubles, to get the characteristic sound of that instrument, rather than an oboist playing clarinet. I think we should all strive for that same characteristic in sound.