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The most important thing to check is using the old mouthpiece on the new clarinet. This will tell you whether the issue is the mouthpiece or the clarinet. My guess is that the mouthpiece is the thing that is causing the change in experience for your 12. year old

I hope that’s good?

Thanks for watching and checking in! :)

What I would suggest...is to try the french cut reed the same resistance as the V12 you would play on that mouthpiece. Synthetic reeds, in my experience, play so evenly that I like to play on the more resistant end of what I would play on a cane reed.

I love this story! My two cents on your reed strength choice....I would definately NOT use a 1.5. I would prefer you to use a 2.5. A 2 would be ok with me. This will help make the clarion and above possible for you. 1.5 will not really allow that to be possible in a traditional way. You will get used to things and it will all feel normal. This will take time....but it will happen. Let me know if there are any topics that would be useful to you for me to make a video about :)

⁠​⁠@@clarinetninjathank you for your reply. I usually start on a 2.5 and slip down to a 2 when I get tired and can’t maintain the sounds as well as when I first start. As time goes on the 2.5 will be played all the time and I’ll faze out the 2. I came here because I gave a 2.5 which i just can’t play for the life of me, I’m not experienced enough to start playing with sanding but I’ll give it a few days and I’ll throw it out if it’s still not playing ball in a couple of days.

@@clarinetninjaI would be interest in book recommendations, I’ve following 2 method books which I find work well for me. I asked my teacher about a book for warm up and long tones etc, I like having a book to follow, her recommendation is good and based around scales but I’d love to know what your favourite books are. I like to have a method book and a book that covers warmups and scales and hat I’m lacking is a book with longer pieces that I can spend a good week or two learning and really feel I’m playing. The exam pieces are ok but I’d like some alternatives.

@@willexartjust start sanding the back of it (but not the top of it) there will be a small amount of resistance change that comes from just doing that. As long as you do it on a flat surface you can’t go too far wrong. And always remember…if you were not going to play on that reed anyway, you can totally mess it up and you are in exactly the same place as when you started. Not much at risk

@@willexartit’s hard to know what to suggest as I don’t know your playing. Usually, a method book will have some kind of warm-up section or exercise but o don’t know of one that focuses exclusively on that. As far as a warm up goes, I would create my own book if I were you. I have many books that I used to have bound at staples that would be my book of the month…it would contain stuff from various books that all had intention and connection. That way I could put it on the stand alone and have everything I wanted. As far as scales…the standards are always good. Baermann, Klose, Langenus, steivenard (I am sure that’s not spelled right) are all good. I also love the opperman modern daily studies book one. All of those books are not exclusively scales, there is a lot of other good stuff in there. As far as a book with music in it I would suggest melodious and progressive studies sites by David Hite. That’s a great one.

I believe its ok. They are don't get wet so there is no reason that should matter. The humidity stabilization is much more general than that

Thank you! and thank you for your awesome videos!

I love you kiddo. You are the best kiddo in the world

Thank you for your kind words!

I will add that to the description! Thanks for letting me know:) Stop playing out of tune: Clarinet intonation secrets that will blow your mind! th-cam.com/video/t73fUeO6Hpw/w-d-xo.html

@@clarinetninja thanks so much!

At 70 that makes you the coolest of the cool kids! As far as snobs go....(youtube decency rules don't allow for what goes here)...Anybody that wants to play an instrument is cool. Even more cool if they are playing the music that they want to play.

@@davidhunternyc1 I played on that stock barrel for years. I hope I am not stupid for doing so.

@@clarinetninja ♥

You know all the right things to say to make my day! I am glad to hear your are back with the cool kids that play clarinet! I love to hear stories like yours. What kinds of pieces are you looking to play?

I have started every student that age on a 2. I have been doing it that way for 30 years or so. Depending on the kiddo be open to moving to a 2.5 pretty quick if they develop an affinity for the instrument

@@clarinetninja sounds good. Thank you so much!

Here they are:) samsadigursky.bandcamp.com/merch

Where do I send the check?

From what I can infer, I would imagine you would think my cane reed is too resistant as well. I have always found in a synthetic reed that I tend to enjoy I touch more resistance because the reed is so balanced and vibrates more evenly than I can get out of a cane reed

I have to admit that I have no idea. I know Evan has a variety of Albert system clarinets but I have no idea what model he is playing. His equipment is much different than what I have experience with and is hard for me to contextualize

I love that story! The clarinet ninja dojo would be great for you! Email me if you want to know more Theclarinetninja@gmail.com I am trying to build a strong community of people with exactly your goals:)

I am glad that is working for you. It’s a great way to play the clarinet!

That is a difficult request. It is similiar to trying to explain exactly how you change your voice from a low voice to a high voice. Without knowing what you are already doing it’s hard to give solid advice about the altissimo. My concept is clarion voicing is primary. Chalumeau has almost no change from that. Altissimo is a slight change. As one develops (unending journey) this system gets more and more refined.

@@clarinetninja could you think of it as a “Ha” for chalumeau, “He” for clarion, and a “Hue” for altissimo? I’ve seen this recommended in an exercise by playing low A, then popping the register key to get E, and lifting the index finger to get C#

@@AUsableUsername_ I like that exercise! I don't think of the voicing in that way, but if it works for you I say go with it. I use essentially the same voicing for the chalumeau and the clarion. I call my approach "clarion focused" or "middle out". I make a small change for the altissimo. Conceptually, the least amount of change possible is the best. It can be easy to be lured into too much of a change. Let the register key (in the back) and the first finger register key (for the altissimo) do the heavy lifting. I hope this is helpful!

@@clarinetninja alright, thank you for your help, and I’ll take the idea of clarion focused into mind, because I do want this to be something that doesn’t feel super complicated

That was anchorage Alaska. I think it was. If I remember right, I was referencing the challenges of reeds in a dry climate growing up

Thanks!

I leave the details to Brad! All of these details are here www.clarinetmouthpiece.com/product-page/evo-clarinet-adjustable-barrel If you have any questions - I am confident Brad knows the answer better than me and would be happy to answer it through his website. I want you to know that I made a mistake in the video - the barrel you are thinking of goes from 63-68. I understood it wrong when I made the video. It has even more range than I said!

Brad is an amazing person with the expertise, innovation, and execution of his ideas!

Glad to hear it! thanks:)