Klarinet Archive - Posting 000072.txt from 2006/06

From: "Penny Ward Marcus" <pennyw@-----.com>
Subj: Re: [kl] F - D - F fingering
Date: Fri, 16 Jun 2006 15:27:33 -0400

This is great for going up to D from F. It's standard
practice to do the half-hole technique there, but I believe
the question was regarding the acoustical "bump" that
happen from D down to F. The usual response to this
when I sought help in the past was simply to voice the
transition better. I have noticed that the alternate
fingerings thus far suggested alleviate the glitch mechanically,
though they may feel somewhat awkward. I understood this
to be a problem having to do with what fundemental pitch you
are coming from and whether or not it is going to a different
fundemental. I am forgetting which is supposed to be
smoother over intervals, though I thought it was beneficial
to go to a different fundemental as opposed to trying to change
which overtone you are on within the same one.

Any clarification out there?

Thanks,
Penny

----- Original Message -----
From: "Keith" <bowenk@-----.com>
To: <klarinet@-----.org>
Sent: Friday, June 16, 2006 2:51 PM
Subject: RE: [kl] F - D - F fingering

>I think it is not rude, but unwise, to tell someone else what they will
>find
> difficult. They may find it easier. We can present ideas and let them try
> them out and choose.
>
> I personally use the open D sometimes, but only in fast passages when the
> tuning is not too noticeable; on my horns it tends to be a little flat. It
> has the advantage that it stays on the same harmonic as the lower note, so
> is less likely to fly out of control or to delay in speaking.
>
> With the standard fingering, a useful technique is to change the way the
> LH1
> is removed. Instead of lifting it directly off, roll it towards the bell
> end
> of the clarinet; this makes the upper harmonic speak more easily. I think
> this is probably because it starts with a small hole at the beginning of
> the
> roll; this is more appropriate for a "register key" hole, which is what
> this
> becomes in the third register. LH1 is acoustically too large to be a good
> register hole (hence the small holes in LH1 plateau keys on the bass and
> basset horn).
>
> Keith Bowen
>
>
>
>
> -----Original Message-----
> From: klarinet-return-87821-bowenk=compuserve.com@-----.org
> [mailto:klarinet-return-87821-bowenk=compuserve.com@-----.org] On
> Behalf
> Of Patton Hunnicutt
> Sent: Friday, June 16, 2006 7:23 PM
> To: klarinet@-----.org
> Subject: Re: [kl] F - D - F fingering
>
>
> I'm not going to be rude. What you're suggesting is far more difficult.
> Period.
>
> [timr@-----.com] wrote:
> On Thu, 15 Jun 2006 16:49:51 -0700 (PDT), Patton Hunnicutt
> <bass9396@-----.com> wrote:
>
>>Play the D open. No register key, no nothing. Fairly easy to slur.
>>Have
> fun!
>>
>>
>
> It's hard for me to see how that could be better. Making the transition
> from that open D to the clarino F requires laying down all the fingers
> on the left hand plus the thumb, AND the right index finger. If they
> aren't down simultaneously, you'll get intermediate tones. Coordinating
> multihand movements like that is tricky. We recently did a piece with a
> tremolo between top-space E and first ledger A (excerpts from de Meij's
> "Lord Of The Rings'). It took a fair amount of concentration to make
> that work without getting a G or an Ab mixed in.
>
> I'm a little confused as to why the stock standard fingerings for F and
> D aren't the best choice. That requires moving exactly one finger
> (L1). I suppose the root of the problem is that one has to change
> registers between them.
>
> --
> Tim Roberts, timr@-----.com
> Providenza & Boekelheide, Inc.
>
>
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