Klarinet Archive - Posting 001134.txt from 2000/10

From: ShawThings@-----.com
Subj: Re: [kl] Kenny Davern
Date: Sun, 22 Oct 2000 21:58:36 -0400

In a message dated 23/10/00 11:14:18 AM AUS Eastern Standard Time,
Bilwright@-----.net writes:

> <><> Arthur Acheson wrote:
> One of his favourite "effects" is to trill LH3 while fingering F,E ,and
> D, {clarion}.
>
> <><> Tim Shaw wrote:
> alternating middle register f# and f (a "blue" third) resolving to e
> (for 4 bar guitar break) and gets the effect you mentioned by
> simultaneously rapid trilling alternating between l.h. 2nd and 3rd
> finger.

> Thank you for the replies. Taking this one step at a time, what
> is a person supposed to get by fingering F {TR-L123-R1} and then lifting
> L3? I get a quarter-tone above G# ...... I think.
>
> I don't know what "blue third" means, if you care to elaborate.

Hello again, Bill..
I don't know what time it is in your part of the world (?middle of the night)
but it's mid-morning here and I'm supposed to be doing "real" work, but
thought I'd check my e-mail, and this is much more interesting.
My tuner tells me that I get a flat G (concert pitch) which is what exactly
what you found with that fingering. It approaches G (concert) pretty closely
if I play f# (R2) or a sharp F# (concert) if I play E (R12).

By "blue third" I meant that since the tune is in played in C (concert), the
clarinet is in D, in which F is the flattened ("blue") third.
A real "blue" third is supposed to be somewhere between the major & minor -
easily playable by stringed instruments and trombonists.
Davern (and Noone) seem to be able to manage controlled degrees of pitch
(and tone colour) everywhere in between. (Have you ever heard Noone, whose
sound is much "sweeter" [but was probably much less powerful] than Kenny
Davern? If you haven't, I'll be happy to send you a tape).
Ciao,
Tim Shaw.

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