Klarinet Archive - Posting 000068.txt from 2002/10

From: CBA <clarinet10001@-----.com>
Subj: Re: [kl] Fingering for Midsummer...
Date: Wed, 2 Oct 2002 03:15:25 -0400

Playing this passage with the long b fingering being held down
in the right hand also brings the sharpness of the g# and a down
in pitch, which is necessary on most clarinets, due to the usual
sharpness in the throat tones, and especially when playing soft
like in MND.

Kelly Abraham
Woodwinds - New York City
--- "Antoine T. Clark" <atclark@-----.edu> wrote:
> I would be careful in using the trill fingering because of the
> fact that it
> could be out of tune and does not match the sound quality of
> the a and g#
> before it. I have experimented with leaving fingers down in
> the right hand
> when going from the g# to the b. I have found that by doing
> this you can use
> the left side b or the right side b with better ease. I am
> finding that the
> right side b pops less. I think it works well because when I
> play a and g# I
> already have resonance fingerings incorporated so its easy to
> hold down the
> right side b when I am playing the g#.
>
>
>
> ----- Original Message -----
> From: "Joe Redmon" <red1451@-----.com>
> To: <klarinet@-----.org>
> Sent: Sunday, September 29, 2002 12:37 PM
> Subject: [kl] Fingering for Midsummer...
>
>
> > Dear list,
> >
> > In Midsummer Nights Dream, I have often used the full
> > midline B in the opening sequence. I recently have
> > switched to using the trill fingering for that
> > particular note. The sound quality isn't as good, but
> > it doesn't "pop" when playing it and the transition is
> > much smoother. Who here uses this fingering? Is it
> > acceptable in an orchestral audition?
> >
> > Thanks a bunch!
> >
> >
> > Do you Yahoo!?
> > New DSL Internet Access from SBC & Yahoo!
> > http://sbc.yahoo.com
> >
> >
>
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