 The Clarinet BBoard
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Author: sneakers
Date: 2001-09-04 04:52
I have two questions regarding the second movement of the Mozart Concerto. What is the proper way to play the grace notes, before the beat or on the beat? Also, which fingerings for Bb do you recommend for the two Bbs in the last group of thirty-second notes towards the end of the movement?
As far as Cavallini, I have a question about the second of the 30 Caprices. I am not sure what notes to play on the turns. I think I have figured out what to play when the original note has no flat or sharp, but I am not sure what notes to play when the original note has a sharp or flat.
My final question is in regard to fingerings in the Hamelin Scales and Exercises. Some of the recommendations for fingerings seem to make playing the scales more difficult, rather than easier. For example, for the B major scale he indicates playing low D# using the F1 fingering. Perhaps I don't understand what fingering he is referring to, but it seems it would be easier after C# to play the D# with the right hand side key. Does anyone have any thoughts concerning this?
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Author: Carmen Izzo
Date: 2001-09-04 05:59
mozart? Id go with the on the beat grace notes. thats how larry combs and alfred prinz plays em
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Author: William
Date: 2001-09-04 15:12
Grace notes--on the beat. Bb's--use the side-key fingering for both. Turns--keeps the accidentals and play the usual patternof notes within the key signiture and you should be ok. Scale--Use the side-key fingering. Good Clarineting!!!!!
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Author: Douglas
Date: 2001-09-04 22:42
There is a well known recording of the Mozart 2nd movement in which the clarinetist plays the "grace" note on the beat and the orchestra, answering with the same music, plays it before the beat. What a hoot!
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Author: sneakers
Date: 2001-09-05 14:48
Thanks for your responses, but I guess I need to clarify a few things. I know that when playing turns you usually stay within the key signature. However, in the Cavallini Caprice there is an example given of the turns to be used in the first and second measures. The starting note is E, the notes given for the turn are F, E, D#, E. The key signature is no flats and sharps. If I stick with just playing notes within the key signature, I would not be following the same pattern set up at the beginning of the piece. Anyone know what I am supposed to do?
Also, I too would normally use the side D# in the B major scale and the side Bb in the Mozart, but Hamelin has me confused. Is there anyone who is familiar with his book that understands why he uses these fingerings?
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Author: Jack Kissinger
Date: 2001-09-09 15:44
Hi Sneakers,
Hamelin explains why he uses the F1 fingering in the notes he provides at the beginning of the book under "General Remarks." He says "The choice of the F1 [xoo xoo] fingering for [D#/A#] is easily explained because it sounds a trifle higher than L or R." He goes on to say, "The [D#/A#] if sensitive are fingered F2 [xoo oxo] because they sound a trifle higher than F1 and make more effective the attraction of the 7th to the tonic." (Hence he uses F2 instead of F1 in the E-major scale.)
Very subtle. He must have had a remarkable ear. IMHO, little tricks like this (and e.g., using resonance fingerings for throat tones) separate performances in which the notes all sound correct from performances that sound just right. Of course what may have been true for his clarinet might not be true for all so you have to experiment. All three fingerings involve movement in both hands when moving from C#/G# to D#/A# so none is really easier or "smoother" than the others once you have practiced them.
Before I read these notes trying to find an answer to your question, my natural tendency was to use R. I actually found F2 a little smoother/quicker (for me) than either F1or R. I suspect that was because of the near presence of B/F# . Thanks for drawing my attention to this.
With regard to the Cavallini, I wonder what edition you are using. In the Hite edition, the only Caprice I can find with turns illustrated in the first and second (full) measures is Opus 2, No. 5. This is in 2/4 and almost entirely in triplets. I assume this is the one you are talking about. Again thank you for drawing my attention to something I hadn't thought about before. While I couldn't find any well-defined "rule" in any of the few textbooks I have at home, after some experimenting, I think I understand what is going on. I think the rule is actually this (if I'm wrong, perhaps someone who really knows can correct me): in executing a ("romantic" or later) turn, go up to the next note in the scale, back to the original note, down one half-step and up to the original note. This means that (in a major key) when the original note is I, II, IV, V, or VI, your first move is up 2 half-steps but when the note is III (as it is in the first and second full measures of the Cavallini) or VII, the first move is up 1/2 step. Try playing up a C scale with a turn on each note and you'll see what I mean.
In a minor key, the rules would presumably vary depending on which version of the minor was in use. The challenge in a piece like this is that Cavellini changes key throughout without changing key signature so you have to determine which key you are in at the time and where you are in its scale.
Best regards,
Jack Kissinger
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Author: sneakers
Date: 2001-09-09 21:12
Jack,
Thank you for spending the time to research my questions! I am a little embarrassed about the Hamelin, because I just read myself last night his explanation for the fingerings. However, your further comments are greatly appreciated. I will practice playing them the way he suggests. The fingerings he suggests may become easier once I am use to them.
I am playing the Carl Fischer edition of the Cavallini. The one you referred to is the one I was asking about. Thanks for the explanation.
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Author: David dow Sympony NB
Date: 2002-04-26 10:10
In the Mozart the written grace notes I play on the beat, although theorists tend to argue on many of these points. Anthony Pay in his basset version plays them on the beat, and he is a total authority in period music repetoire.
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