Klarinet Archive - Posting 000992.txt from 2000/12

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: [kl] Better high Ebs
Date: Tue, 19 Dec 2000 07:41:00 -0500

Christmas wrapping - open only on Monday next. In the mean time place under
the tree. Text reads:-- Bill`s fork Eb is a good note. However, as with all
upper reg. notes one has to think of context. For example, it would be
unwise to use it in a fast scalic passage of E major. I fear there is only
one recourse to this problem,. and that is to use the "normal" tutor book
fingering of Th+Reg. 0 2 3. 0 2 0. And not even any pinky fingers. At speed,
nobody notices the "blip" of flatness. One would of course use Bill`s fork
fingering,
or Th+Reg. 0 2 3. 0 0 3 +Ab/Eb for slow melodic phrases. The tutor book
Th+Reg. 0 2 3. 0 2 0 +Ab/Eb can be perfectly acceptable on certain
clarinets. One needs to experiment. Other fingerings are (mainly for slow
melodic work) Th+Reg.+Throat A - nothing else! There is also Th+Reg. 0 2
3+C#/G#. 1 0 0Ab/Eb. This works, but does not have very good quality, and
can be a little wild. BUT, to practice <this> last suggestion is also an
alternative excellent way to obtaining firm embouchure control generally in
this surrounding register up top. After prolonged efforts in trying to
stabilise this Eb, all other notes will speak with ease, and you`ll be a
"master" at everything above C.
You`ll require a good reed, a warm environment, preferably without
disturbances from well endowed matronly Aunts, the occasional small glass of
port - no cheese, and at least 3/4 hour for your initial trials on Monday &
Tuesday next. You can throw away the wrapping now.
My $50 worth as a free Xmas pressie [to (respectfully not to those who
havn`t) only those who have reached high G with some security].
Best,
Tony W.
P.S. In my last post re Leon Young, please be assured that my statement
saying Leon did not receive any royalty from the American publishers, is
not, repeat not a direct accusation of American practices. Many, many
publishers have "ripped off" their writers/artistes (as you all know) all
over the world, over the centuries. Now that statement <is> a direct
accusation! That`s the direct reason why writers are increasingly handling
their own publishing.
P.P.S. What a fantastic "motto" for young beginners, Bill Hausmann observed
in that bandroom.

Bill Edinger says
> Avrahm Galper noted that Alexandre Selmer advocated using the fork
> fingering (that's what I call it, anyway), RH first finger plus sliver
> key, for chalumeau B nat. and clarion F#, as well as high Eb. This is
> what I had been taught many years ago in a woodwinds class (just audited
> it - I was a Bio major) by my college band director, who was
> principally a brass man (unfortunately, almost all my directors have
> been brass men, and I'm almost 50 now. Gimme a break!). Coincidentally,
> in the same class, I learned that with the flute, the analogous notes
> are always played with the RH ring finger, leaving the _two_ tone holes
> above it open. I remember reading in recent years (on the K-list?) that
> as an acoustical principle, you always get a better-quality pitch when
> two, rather than one, tone holes are left open in such a fingering.
> That's certainly applied to flute playing, where there really is no
> equivalent sliver key to prevent the "blurp" when switching fingers.
> Maybe flutists just get used to it, or better at it, or perhaps it just
> isn't noticeable on a flute. Anyway, I've developed the habit of,
> whenever practical, using the third finger rather than the second for
> high Eb as well as clarion F# - can't remember trying it for chalumeau B
> nat. It really does sound noticeably better. Tom Ridenour's book says
> you can also just close the ring and leave the tone hole itself open.

---------------------------------------------------------------------
Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
Subscribe to the Digest: klarinet-digest-subscribe@-----.org
Additional commands: klarinet-help@-----.org
Other problems: klarinet-owner@-----.org