 The Clarinet BBoard
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Author: rebiolca
Date: 2010-06-11 08:20
Attachment: bouree.pdf (97k)
Hello everybody
I have a problem with the attached score, I have a 17 keys clarinet (no Eb key). So I don't know how to deal the passage G# C# D# in the first/second bar, I play G# with left hand, C# with right hand but now I really don't know how to proceed to play D# without rising the pinky finger of the right hand, which does not sound good. Is there any alternative position to better play that passage? Should I really consider to purchase a clarinet with Eb key? I must say that I am mainly a sax player but I enjoy some clarinet too.
Thanks
Renato
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Author: Barry Vincent
Date: 2010-06-11 08:43
For the G# use the old fingering Spx/xxo/xxo For the F# just before it use
Spx/xxx/oxo
Skyfacer
Post Edited (2010-06-11 08:48)
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Author: Morrigan
Date: 2010-06-11 09:30
The solution: In the second (full) bar, use the RH for C-sharp and quickly change to the LH before the D-sharp.
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Author: kdk
Date: 2010-06-11 11:36
A slight refinement on Morrigan's solution, which to me is the one more commonly used in this situation, is to think of the quarter-note C-sharp as two tied eighth notes. Play the first eighth with RH and then switch over to LH on the second eighth. Measuring it rhythmically in this way *may* make it easier to control (your mileage may vary).
The fingering Barry gives for G-sharp/A-flat is very useful in many passages, especially arpeggiated ones involving C or C-flat, E-flat and A-flat (or their enharmonics). I find it most useful when the passage is too fast to do anything else. The problem is that on a standard French-style Boehm clarinet the 2L+2R A-flat is not of the same tone quality as the other notes, so either some adjustment in the voicing of it and the surrounding notes is needed to make it blend, or it needs to go by quickly enough not to hear it well.
Karl
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Author: Ken Shaw ★2017
Date: 2010-06-11 12:03
Renato -
The passage is one of those "you can't get there from here" sequences, with no perfect solution. Nevertheless, everyone needs to be able to deal with a passage like this without extra keys.
Barry Vincent's cross-fingering works, even though the G# is muffled, because it's a passing tone that shouldn't be emphasized. Morrigan's finger switch also works. However, you should work on moving quickly from the G# to the C#, making the G# a tiny bit shorter to give you time.
This bouree is #2 of a pair. In baroque paired movements, the second one is a contrast to the first, and the usual way of making the contrast is to play the second one a little slower and in a more relaxed style. This gives you time to make the switch.
BWV 996 is from a lute suite by Bach which is itself a transcription from a suite for solo cello. If I remember correctly, the cello suite is in a different key. But that's irrelevant when you're switching instruments. Since you appear to have Lilypond, there's nothing easier than taking the entire piece down a step, which removes the problem. If this is for a contest, give the transposed version to the judge and no one will know the difference.
There's also a hardware solution. Steve Fox makes an auxiliary right hand first finger touchpiece for the C#/G# http://www.sfoxclarinets.com/Accessories.html that makes the sequence possible and is much less expensive than having a left-side Ab/Eb lever installed.
Part of becoming a better player is learning how to make passages like this sound good. Just remember that bassoonists do it all the time. Violinists do everything with only four fingers and switch and slide as a matter of course. If they can do it, so can you.
Ken Shaw
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Author: rebiolca
Date: 2010-06-11 16:52
Thank you all, I tried both solutions, however I transposed the piece using Lilypond, If I want to play it in the original key probably I should use the soprano sax, but it was an enigma I wanted to solve somehow:)
Renato
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