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Capriccio Espagnol

Author: SecondTry
Date: 2025-10-13 04:03

In the opening of this excerpt, as so many of you know, we move quickly between [C6]

and

.

This quick transition, while certainly doable on my part isn't as smooth as, let's say, going from [B5]

.

I suspect it has something to do with the number of fingers that go down to make the [D6]

from the

and perhaps the break the happens as we transition from notes where the left pointer finger is down (register key or not) and those above [C6]

for which this finger isn't on its tone hole (please you tell me).

How do people handle this movement between [C6]

and

?

Do they accept that the transition between these notes is not as elegant as that between [B5]

and

, do they use alternate fingers for [D6]

?

Is there some practice suggested for this? Is it an embouchure thing?

TIA

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Re: Capriccio Espagnol

Author: Erez Katz
Date: 2025-10-13 06:21

steady air flow and very accurate fingering. if the 4 holes open and close exactly the same tine then there is very little break to speak of. if there is an audible artifact - one of the fingers is not in synch.

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Re: Capriccio Espagnol

Author: JTJC
Date: 2025-10-13 12:30

Use an alternative fingering for the D, like side keys.

So often in recordings you hear the player going over the 'hump' of that interval. Particularly annoying in the solo from Rachmaninoff 2nd Symphony. In that, the D isn't a long note, but sometimes you hear it only half the length as the player goes over that hump.

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