Klarinet Archive - Posting 000728.txt from 2000/01

From: "Ed & Carol Maurey" <edsshop@-----.ca>
Subj: Re: [kl] High D
Date: Sat, 22 Jan 2000 07:39:26 -0500

In the Mozart Concerto one can go rapidly between Bb and D using the same
fingering as throat tone G. Yes, no register key.

Ed Maurey
----- Original Message -----
From: Tony Pay <Tony@-----.uk>
Subject: Re: [kl] High D

> On Fri, 21 Jan 2000 23:09:39 -0800, jonsmith@-----.net said:
>
> > > High D (above the staff)
> > >
> > > Everyone knows the fingering for this note: Left hand - second and
third
> > > finger plus the
> > > Right hand - index finger and Eb key.
> > > And of course, the Left hand thumb hole closed, with the speaker key
> > > open.
> > >
> > > I have no new fingering to divulge. What I want to say is, the
> > > majority of times when high D is played, the Right Eb key can be
> > > depressed PRIOR to playing the high D.
> >
> > I was taught to add the half-hole with the left hand first finger for
> > everything above C; it seems to help the tone.
>
> Usually that's recommended for ease of transition from a note in the
> clarinet register. It can affect the pitch adversely -- but only you
> can tell whether it does in your case.
>
> I'm sure this has been gone into a number of times on this list, but it
> might be worth recapitulating: a fingering for D" that some people don't
> know is:
>
> LH: thumb, no speaker/register key but throat Ab key, first finger or
> not (according to pitch requirements), second and third fingers;
>
> RH: first and third fingers, Ab/Eb key.
>
> (Yes, you can cover first finger hole LH and open the Ab key
> simultaneously:-)
>
> This is useful for drifting in, in 'Death and Transfiguration', say.
> It's also good for the second phrase in the Baermann Adagio.
>
> There are several other fingerings of this type, substituting the throat
> Ab key for the speaker/register key. The general philosophy is that
> because the Ab hole is larger and lower than the speaker/register hole,
> the resultant note is sharper, and so you have to have a longer
> effective tube.
>
> Try with a 'normal' top note fingering; then switch from
> speaker/register key to throat Ab, making the note sharper; then
> compensate with added fingers till you get back to the correct pitch.
> A given fingering may work better on one clarinet than another.
>
> The sound is floatier, even flutier, and the note speaks more readily.
> (It can also be easier to find a unison with, say, an oboe, because the
> sound is less complex.)
>
> I suppose I should say that these fingerings, while very useful on
> occasion, aren't a magical cure for anyone who is still struggling with
> fundamental problems in the upper register.
>
> By the way, it's useful to write down any particularly good fingering
> you find. This is especially true on period instruments of course; but
> I once did a performance of the Copland concerto (on a modern
> instrument, naturally) in which I used several unusual fingerings to
> great effect, I thought; but I've since forgotten at least one that I
> discovered and was quite proud of at the time.
>
> "Seated one day at the organ....."
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
>
> ... When I get a better mouse trap built, mice will be an endangered
species.
>
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