Question:
Alto sax to clarinet?
Heya everyone.
Ive been playing the alto sax for about 2 1/2 years now and am working towards grade 8. My music teacher believes i should take up the claninet as a second instrument but i dont no where to start ... How much do i spend on a clarinet? What clarinet would be suited? It would be a fantastic help if you could give some adive and guidence. Thanx Nicky xx

Answer:
Firstly, I agree with your teacher--doubling on the clarinet will be very useful. It should be much like when you started the sax. Here's some ideas to consider.
1. Rent a clarinet for a while to develop on so that when you buy a clarinet you know what you want. If you drop the instrument in a year, you won't have a big investment to recoup.
2. Read about clarinets. I'd start at . These guys are really into the instrument.
3. Take lessons to speed up your adoption of the instrument and steer you away from career limiting bad habits.
4. Make a goal to play the clarinet in a gig the first year. That can give you the impetus to study harder.
5. Enjoy, the process of learning is a lifelong adventure.

Answer:
The only thing that I have to add to the great advice posted by Gandalfe is to spend some time listening to a wide range of both jazz and classical clarinetists to discover the ones who really speak to you. This will enable you to find your clarinet heroes. They will help inspire you to work with the clarinet, develop a good tonal conception, and begin to find your own voice on the instrument. The clarinet is a GREAT instrument for both solo and section work in a jazz ensemble...and has a long and important history in jazz. You shouldn't have any trouble finding recordings of fantastic clarinet players from every period of jazz history from the 20's up through to today. If you need suggestions please let us know.
One thing that might be of help, regardless of what brand or model of clarinet you start with, is to get a Ralph Morgan pro-tone clarinet mouthpiece. It's specifically designed to help beginners get a good sound. Of course, you'll need to spend the necessary practice time to develop your sound and technique. It's a hard-made mouthpiece that's inexpensive. I have no doubt that it will be much better for you than the stock mouthpiece that comes with the clarinet. If you're able to study clarinet with a good teacher -- highly recommended! -- he or she will have some recommendations for your equipment.
Please let us know how you're coming along!
Best Wishes, Roger

Answer:
hey guys, thanks a lot i defenatly get some clarinet music to listen to. My music teacher is a sax and clarinet teacher therefore im sure she would be willing to teach me 2 instruments. I have developed so quickly on the sax, would it be possible to be the same on clarinet?? Would you recommend buying a student model clarinet rather than an intermediate/pro model. As i bought a student sax then 1 year later bought a prefessional sax and this cost moeny and time. Anyways thanks for your advice so far !! Love Nicky xx

Answer:
Hey, if you can afford a good clarinet, why buy a student model. I purchased my wife a really nice but used Leblanc LL for a quarter of the price of a new one. That is something to consider.

By the way, she was playing a Selmer Signet (it's Selmer's student model) and she didn't think she needed a better horn. So I brought one home on trial and pulled out the ol' tuner. That did it for her. It didn't hurt that the used Leblanc was a beautiful instrument, dark brown wood instead of black plastic.

The Selmer got passed on to a beginning adult player, who loves it but will probably never really progress very far.

Answer:
Again, I agree with Gandalfe. If you can get a good quality used professional-level clarinet (such as a Buffet, Leblanc, Selmer, or Yamaha) it will save you money in the long run and you'll have good equipment to grow with as you develop. It would be a good idea to discuss this with your sax & clarinet teacher and see what she suggests. She might be able to help you to find a good clarinet for a reasonable price. Very importantly, she might be able to play-test a clarinet before you buy it to make sure that it's a good one for you. This is one of the great things that a clarinet teacher can do.
Whenever I've tried to go cheap with a horn I never failed to regret it later on and end up losing money. In those cases I'd kick myself for not spending a few more bucks to get a better quality horn in the first place. I've since learned my lesson. ;)
It's possible to find a good clarinet outside the "Big Four" brands that are most commonly used in classical clarinet circles. I, personally, use a 40-year old Noblet clarinet that a friend gave me several years ago. I quickly fell in love with its dark, fat sound. After having it restored, I had some custom work done to its keywork by my repair tech. I'm really happy with this clarinet. But, I wouldn't recommend that you try this approach until you get more experience with the clarinet. At this point, it makes sense to go with a good "mainstream" brand and, in particular, see what your teacher suggests.
Good luck!

Answer:
Thanks Roger ... i suffererd by buying a cheep sax i would never ever buy a Jupiter sax in my life again. I had sooooooo many problems with it and it droped in value drastically.
I will have about £500 to spend on a clarinet so im guessing i could get an intermeadiate model for that amount of money?? :confused:
My music teacher has gone away for 3 months leaving me ha ha how could she im her best pupil 8-) . So im having lessons by a replacement who i dont like (oops shouldnt of said that).
Thanks guys,
Nicky xx

Answer:
Many so-called 'Intermediate' models are no better than a WELL-ADJUSTED (important!!) student Yamaha or 'Forte'.
Having a timber body does not necessarily mean a better clarinet. It is the DESIGN that is most important.
Why not get a good plastic one, and then graduate to a pro instrument of your choice at your leisure at a later date when you have enough experience to know what particular characteristics you are aiming for. You may well find the good plastic one is perfectly adequate for your needs.

Answer:
Thanks for the sites i will have a browse. I never knew there was sooo many different types of clarinets, such as keys, body finishes etc its like a whole new world to investigate :wink: thanks again guys n gals :) Nicky xx

Answer:
I'm old and my memory is failing, are you anywhere near Myatts in Hitchin?
If you can get to a store with a decent selection of different clarinets, then half an afternoon will tell you most of what you need to know.
The standard advice is a lightly used Yam 26 (or whatever the current number is) - buy privately, your friends or teacher might know someone who is giving up, expect to pay £150 to £200. Play it through the summer and sell, small profit?, in September to an eager new student - by then you will have a better notion of what it is you want.

Answer:
Thanks Doug, Yes i live in Stevenage about 15 minutes from Myatts. If you buy privately dont you have the risk of the clarinet being damaged?
I think i will purchase a clarinet after my exams in June otherwise i will get carried away ha ha.
Thanks everyone,
Nicky xx

Answer:
Hi - rather than start a new thread, maybe I can piggyback on this one. I'm learning clarinet, having played alto and baritone saxes for a while. I have a clarinet (s/h Buffet B12), know the theory, but am looking for top tips for a new doubler - what did y'all find useful/wish you'd known when you started, expecially in terms of sax/clarinet differences, tone improvement, etc.
many thanks
Nick

Answer:
I'm certainly no expert on this but specific issues for sax players would be developing a smooth fingering technique and making sure you get your fingers over the holes. The embouchure differences can be significant depending on the MP and reed and developing the air velocity to support the notes. This really throws a lot of sax players! You can also really lose your chops in a hurry on a clarinet!
Areas that typically need special attention on the clarinet include crossing the break to B or above from below and then again across the altissimo break C to D and above. Depending on the style of music you're playing, you'll need to be able to play to G6 (4 ledger lines above the staff). Quite a bit of 1st clarinet literature goes that high.
I've seen more than a few sax players get very discouraged over the sheer number of fingering options on the clarinet, over 500 last time I looked. Where you typically need to focus is on B,C,C#,D,D#,E because combinations with these notes can leave you with awkward or impossible fingering combinations if you only know one way to play these notes. Following that, most clarinet players know at least two ways to play the altissimo notes D and F, partially because of tone issues and also because there are fast fingerings for these notes that seem to occur fairly often.
Most clarinets have intonation issues with the on staff chromatic notes from G to Bb. Clarinets players also tend to play altissimo notes slightly (5 cents) sharp.
Couple of tips. Clarinets tend to play a bit sharp then flatten as they warm up. So you have to keep listening as you play and push the barrel in as you go along. You will probably want to swab out the clarinet during breaks becasue they get water buildup which will make them gurgle if you don't. Plus the pads can swell causing all manner of issues. Consider corking the upper joint pads.
If you are doubling, keep in mind the reeds dry out much faster than on a sax, so be afraid...be very afraid! :twisted: I've seen more than a few doublers pick up a clarinet that has been sitting for an hour or better unused stand up for their big clarinet solo entrance and BLAM, get hit with a monumental honk! Consider a Legere or other plastic reed and be afraid no more!
Have fun!
Rick

Answer:
Excellent, Rick that's the sort of thing I need (tho I'm a bit scared about the losing-my-sax-chops bit! Certainly plays hell with flute embouchure!).
Currently playing a Buffet B12 with the stock mpc, thinking of changing to a Morgan protone mpc (just cos I've seen them recommended) once I get the hang of it. Good choice? Using vandoren 2 or 2.5 reeds.
Things that strike me, having noodled for a coupla hours:
-the breath back pressure is far greater than on sax, so more diapraghm support needed
-I need far less mpc in the mouth (or it squeaks like crazy)
-My tone is duck-like, and it's not clear how to improve it yet (usual sax tricks - looser embouchure, relaxed throat and large mouth cavity, don't seem to work).
-the embouchuire isn't exactly tighter than on sax, but the lips need to be wrapped around the mpc more (maybe just because it's a smaller mpc)
-tuning, as you say . G - Bb are very flat. Glad it's not just me!
- yup, problem keeping the fingers on the holes!
-insane fingering ... as you say ... and alternatives for the bottom note!!!? What's THAT about?
Any tips from anyone on these points would be welcome. FWIW I play Selmer S80 mk 1 alto, with C*/Lawton 7, both with rico royal 3's, and Yanigasawa bari with yani 5 (Rico Royal 3.5's) or Lawton 6star (RR 3's).
cheers
nick

Answer:
I had these exact problems a last year when i started taking the clarinet seriously, i went from alto to clarinet.
With the hole covering problem, just learn and play lots of slow scales and studies if you have any, works a charm.
The embouchure isnt tighter and more bunched up, its just firmer. By this i mean it doesnt change at all over the registers, it should be static. The lips i found helps to spread them out a little rather than a thick cushion like on sax, this should also resolve the tuning issue on the G and Bb.
And to get the fingerings right, well, i dunno i just kept playing lots of music, starting on very easy stuff untill i got it sorted.
Hope this helps

Answer:
My problem is the opposite - more comfortable on clarinet than alto. Wanna trade problems? No? I didn't think so. OK, here's a few things to watch:
1. Embouchure - Rock steady but not biting. Think of gripping the mp with the corners of your mouth rather than upper/lower pressure.
2. Intonation - To see if you've got #1 progressing OK, play with a tuner. If you are consistently flat, chances are you are still in the sax embouchure rather than clarinet. You won't know how firm to make it until you check the tuner.
3. Tone - Breath Support and Long Tones until you're blue in the face! ;)

Answer:
Hi:
I wouldn't be too quick in drawing specific conclusions about the clarinet after a few hours which was the same advice I should have taken when crossing over to the sax...G
In very general terms, the clarinet takes less volume but more air pressure and velocity than the sax. Most notes on the clarinet are started by tonguing off with air pressure already built up. Velocity is particularly important as you move up the scale. You are correct about having much less MP in your mouth.
Again in broad terms, usually intonation improves with a harder reed and a MP to match. The more open the MP the softer the reed, the more closed, the harder. Most of the MP's that come with student horns are quite open so students can get notes out with a soft reed and most included MP's also aren't very good. I haven't heard about the Morgan Protone which just means that the clarinet players on the boards I frequent evidently don't use them much.
Your intonation issues really sound like a weak embouchure to me. To put this into perspective, when I switch from clarinet to alto sax I feel as though I don't have any pressure on the MP at all! The biggest issue was just loosening up for me.
I'm getting on sacred ground here, but if after warming up and building your chops and maybe getting a better MP and playing on a reed closer to 3 strength you are still playing flat then you might want to look for a different horn. To raise a pitch on a clarinet that is consistantly flat is a pain. Buffets are kinda known for being pecular as to intonation issues in the pro horns R-13 etc. If this continues to be an issue I'd suggest going to a local music store and test driving a Yamaha student horn and the only reason I'm saying Yamaha is because they are known for playing in tune across the board. If you try one and are still playing flat, then it is most likely you. The problem with playing flat is that the only cure is a hacksaw...G
To take this issue a it further; I play in a concert band and when the clarinet section is tuning up one of us may find ourselves playing wildly flat on a particular day and the usual fix is to move to a slightly stiffer reed. Sometimes you can fix it by just moving a reed around a bit on the MP, but usually not. Clarinets are just a strenge beast and they do things like this on ocassion, but not all the time! On particularly brutal rehearsals when my lips feel like they are going to fall off, usually my tone goes down the drain.
The throat tone intonation issue on clarinets is more an issue of the tone sounding dull and not having a ring to them, but they should still play close to in tune.
Ok, about the alternative lower note fingerings. You'll notice that the RH pinky keys don't have rollers on them. It is generally considered bad technique, although I do it sometimes, to slide the RH pinky from one key to another. The general school of thought is that it is better technique to alternate rh pinky, LH pinky, so again it is a case of what note your playing, what note you came from and what note you are going to! If you don't pay attention, you can fairly easily end up in a situation where you run out of pinkies! In the band I play in we had the whole clarinet section collaborating on the fingering sequence in this one piece. The rest of the band was going; "What are they doing now?" ;)
Probably the best advice I can give you is to find a good teacher and preferably one who plays both clarinet and sax so they know the specific issues involved. The clarinet is a different beasty alltogether and there are numerous issues that a good teacher can get you over much faster than trying it on your own.
Best
RW

Answer:
Thanks all - some very helpful tips.
Nick