Klarinet Archive - Posting 000783.txt from 2002/07

From: Karl Krelove <karlkrelove@-----.net>
Subj: RE: [kl] Debussy Rhapsodie
Date: Thu, 25 Jul 2002 23:38:19 -0400

Rob,

There are several players on the list who are certain to have performed this
piece who may have other advice. I've only practiced it and coached students
who were preparing it. That said...

>
> Bar 36 - E flat --> F Trill?
> Currently holding bottom side key and moving two
> top fingers

It seems to me this is your best bet, although if you can manage to use the
left hand (sliver) Eb key and still only move the two fingers above it (some
people find this difficult), it works out slightly better because of the
next trill.
>
> Bar 36 - B flat --> C Trill?
> Playing B flat with thumb and first finger and
> trilling top
> side key.
> Sound quality is not very good though!
>
I've always used the top two trill keys for B flat to C. The sound shouldn't
be any worse than the B flat itself - certainly not the same as a long C
fingering, but OK for a trill. If using both keys gives you a really fuzzy
note, take the keys off and check for dirt in either of the two holes the
keys cover.

> Bar 41 - Going from C to E Flat?
> Though about taking thumb of the C and using Register Key
> and side A key with first finger.
>

My advice is to use the best sounding fingering here (on my instruments the
"forked" E flat - 2 and 3 of the left and 1 plus the "sliver" key on the
right plus thumb and register keys). Those "throat" key fingerings are
useful in some technical passages, but they tend to be inferior in tone and
intonation, and this place is much too dependent on both. Legato connections
over the high break are a generic problem you need to solve anyway with
careful practice and attention to control of both your embouchure and the
flow of air.

Good luck with it.

Karl Krelove

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