 The Clarinet BBoard
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Author: sfalexi
Date: 2004-12-30 13:25
I have an Amati 604 (FB clarinet with 7 rings, alternate Eb, articulated G#).
I'm going over my broken chords (think it's the same as arpeggios), and am realizing that for a lot of arpeggios it would be easier for me to use the fork Eb fingering ( T xox|ooo). For example, Ab, C, fork Eb, Ab.
On the one hand, the purpose that the fork Eb is available is to make things easier. On the other hand, most clarinets don't have this option so there is always the chance that I might have to borrow one on short notice. Should I practice the arpeggio using it?
Alexi
US Army Japan Band
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Author: GBK
Date: 2004-12-30 17:11
I wouldn't hurt to practice it both ways.
Since only one of my clarinets is a Full Boehm, when I use it I am aware of the alternate keys but only use them on selected passages (with the music marked as a reminder).
The fork Eb fingering ( T xox|ooo) is best used for C4 to Eb4 trills. I rarely, if ever, use it for arpeggios. Although, I will admit, to alleviate boredom in long orchestra rehearsals, I will challenge myself to use some of the alternate fingering choices in difficult passages, just to see if I can do it consistantly.
Too many years of using standard (17 key/6 ring) fingerings to change old habits...GBK
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Author: Contra
Date: 2004-12-30 17:21
I first interpreted that as Fb before I realized that it stood for Full Boehm. Too much typing of keys.
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Author: Terry Stibal
Date: 2004-12-30 20:09
I use the side Ab/Eb lever almost reflexively, but since it's on both the Bb soprano and the Bb bass, it's only to be expected.
The articulated G# has also become second nature to me. Once again, having the Bb soprano and the Bb bass so arranged, as well as all of the saxes, makes this more of the "norm". One of the arguments against the articulated G# is that it takes away one or two of the altissimo fingerings, but since I don't play much art music, and can work around those "losses" when I do, I think that the overall utility of the key far outweighs the loss.
The fork Eb/Bb is present on both of my soprano horns, and I use it in arpeggi for the most part. Like stated previously, I look to work it in when I get bored playing a show, and that keeps it front and center in my mind.
In a related issue, I wonder how many people have grown up on the Lazarus method as a primary tool, not knowing that most of the exercises therein were put together for the "Albert" system clarinet? It's still challenging music, but I recall playing several studies where it was like falling off a duck's back on the Boehm horn. Play it on the Albert, though, and you understood what he was doing.
I note too in the current issue of *The Clarinet* , where Mark C. is given some passing thanks by the board, there is an announced "master class" by a principal clarinettist of the German school. I sure hope that attendees don't start asking him about how to deal with Boehm related problems in fingering...
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