Klarinet Archive - Posting 000400.txt from 1998/08

From: <kbowman@-----.com>
Subj: [kl] Re: Articulated G#
Date: Fri, 14 Aug 1998 10:01:02 -0400

Grant Green wrote:
[clip]
The mechanism *has* evolved, somewhat. The original Sax saxophones had two
separate octave keys (instead of the modern "automatic" octave key), and
had keywork down to low B (not Bb or A) and up to Eb (not F, F#, or G, as
one can now find). The low Bb, high E, high F, and front F were all added
later (and high F# and G added relatively recently). I don't recall if the
original G# key was articulated, or if the "fork" fingering (LH1 RH1) for
Bb was enabled. The sarrusophone still has all these "features" (except
that the keywork range is low Bb to high D, with notes above that accessed
by altissimo fingerings).
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High G? I've seen high F# keys (I'm considering a beautiful Yamaha
YAS62 alto right now with F#) but never high G. Where is the tone
hole for this note? The high F# tone hole is almost at the top of
the main tube - just below the neck.

And also:
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What alternate fingerings would you like?
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I'd like to see the tenor extended to low A (as most Bari's are now).
I'd also like to see a LH Bb sliver key similar to the one on
the clarinet upper joint.

Kevin Fay Wrote:
[clip]
Most of the alternate fingerings on clarinet result from the instrument
overblowing on the 12th and not the octave--unnecessary on saxophone.
[clip]

I have been working on some jazz patterns lately on both clarinet and
on tenor sax. I have found that when I rotate the patterns through all
12 keys (scales) I have to pay very close attention to which fingerings
I'm using on clarinet, lest I find myself in a situation where a slide
is required but impossible (say from RH B to Eb - no LH Eb key!). But
on sax, these same passages seem to be much easier to play. I also
attributed this to the overblown 12th vs. an octave.

One more thing:
I play a 1937 Conn 10M tenor. It has a key between the RH 1st and
2nd fingers. As far as I can tell, it's an alternate G# key but I
haven't discovered why I would ever want to use it. Any insight?
(I know this is a clarinet list but you guys seem to be more helpful
- and more active - than the sax list).

Kevin Bowman
Clarinet and Saxophone Instructor
Rochester Conservatory of Music, Rochester, MI.

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