Klarinet Archive - Posting 000198.txt from 2005/01

From: "Karl Krelove" <karlkrelove@-----.net>
Subj: RE: [kl] Rhapsody in Blue Gliss
Date: Thu, 13 Jan 2005 18:39:01 -0500

Bryan,

I've never heard anyone seriously attempt the gliss from the bottom of the
passage (after the trill) and I don't know if it can be done effectively (I
know I can't). But you've left out a third way that I've heard as often as
your #1 - many players on recordings I've heard finger all the way up to G
before starting to slide. And it isn't universal to go up to wherever the
slide starts chromatically - it's effective to just finger a diatonic C
major scale up past the break and then start into the smear wherever you're
able to do it reliably. The notation in the part, after all, is for a
diatonic scale all the way up, not chromatic.

Karl Krelove

> -----Original Message-----
> From: Bryan Crumpler [mailto:crumpletox@-----.com]
> Sent: Thursday, January 13, 2005 12:50 PM
> To: klarinet@-----.org
> Subject: [kl] Rhapsody in Blue Gliss
>
>
> Hi all
>
> Had a recent disagreement about how to play the gliss in the opening of
> Rhapsody in Blue and I wanted to gather some outside opinions. I
> don't want
> to get into the whole original intentions of Gershwin with the "scale" or
> anything. I've already read plenty of literature on the subject and
> understand how the scale morphed into a gliss... but I just want
> to ask if
> people 1) play chromatically up until the D (4th line in the
> staff) and then
> gliss OR 2) start the gliss immediately after the low G trill?
> Seems to me,
> people would do the first as a matter of technical ease, but why
> not do it
> the second way if you can feasibly gliss the entire range of the horn?
>
> Regards,
> Bryan
>
> http://www.whosthatguy.com
>
>
>
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