 The Clarinet BBoard
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Author: wjk
Date: 2004-01-04 00:29
Having noticed that the "one and one" Bb fingering (register key and first and fourth tone holes) on my R-13 seemed resistant and stuffy, I had the instrument serviced. The appropriate pads were checked and re-seated, and the bridge mechanism was adjusted. Now this fingering is much better, but it is still ever so resistant to blowing. Have others had this experience? In what situations do others use this fingering?
Thanks!
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Author: Dee
Date: 2004-01-04 01:01
Well there may still need to be some adjustment as mine is quite good. When to use it? Well fast jumps come to mind as a frequent place to use it such as when you are going up and down between say F to Bb and back or any other jumps where the right hand happens to be down.
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Author: sfalexi
Date: 2004-01-04 01:55
Mine is much more resistant. Sounds allright and in tune, but I find it's very nice if I need to go from a loud note to a soft "Bb". It's hard to play that fingering loud and it makes it easier for me to create that dynamic difference.
One place I used it effectively was in the Weber's Concertino, in the cut time two measures before "Tutti". There's a nice tune of high C, to B, to Bb all the while a decrescendo. I hit the Bb very softly with the 1 and 1 fingering and then keep it soft for the last measure. Worked for me! (Suggested to me by my teacher, to whom it was suggested to when he took a lesson with Jon Manasse)
Alexi
US Army Japan Band
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Author: Don Berger
Date: 2004-01-04 02:42
I use this fingering much more often on bass and alto cls than on sops. Its very handy and well in tune on chalemeau "jumps" from Bb to Eb, encountered frequently in rhythmic patterns, for me. Don
Thanx, Mark, Don
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Author: John Scorgie
Date: 2004-01-04 04:26
wjk --
I agree with Dee that your horn may need further adjustment to eliminate a hairline leak which is causing the stuffiness.
You might wish to try something like this:
While fingering B flat 1 and 1, use your second finger L hand to press down on the little key over the tone hole between the first and second L hand "open" tone holes. See if that improves the response.
If not, try fingering B flat 1 and 1 using your L hand in the normal manner but using your second finger R hand (rather than your first finger R hand) to cover the first "open" tone hole on the lower joint. Then use your first finger R hand to press down on the key over the first tone hole on the lower joint.
As for use of the 1 and 1 fingering, often this will be obvious from the passage in question. Example: the repeated F -- B flat intervals just after the second arpeggio in the famous Orpheus solo.
The 1 and 1 can also be useful when you need to raise your pitch to match or blend with another horn player or a singer, because the 1 and 1 is typically sharper than either of the two "standard" fingerings.
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Author: kdennyclarinet
Date: 2004-01-04 05:19
It is important that you know that how you line up the bridge keys plays a
crucial role in the response of the 1/1 Bb fingering. If the horn has already
been serviced, then it is probably not a fault of the horn or repairperson.
Since many of us are unable to stand over the repairperson's shoulder
while he/she works on our horn (unless you are good friends or have a
good rapport) that repairperson will not have any idea of how you usually
align your bridge keys. Therefore, to eliminate the guessing game, try the
following experiments:
Testing by "ear":
Put your horn together as you usually do. Try the 1/1 fingering and test its
response. If it's stuffy, turn your mid joint a bit (where your bridge keys
are) and test it again. Continue moving the mid joint in each direction
(ever so slightly) and test it in each placement. As long as your are not
moving the mid joint in an overly dramatic way (i.e. the bridge keys must
still be touching), once you find a good response for that fingering,
memorize the position that was the best for future use*.
Testing by sight and feel:
Do the activities mentioned in the first test, however as you move from
one mid joint position to another (while holding down the 1/1 fingering)
tap down the small pad cup located just below your first finger of your left
hand with your middle finger. If the pad moves, even in the slightest bit,
then it is not closing all the way in this position. Twist to another position
and tap again. Once you do not feel any movement in this pad, then your
1/1 fingering will respond clearly.
*My advice is to check this as you warm up before you begin
playing the etude or solo piece in which you have chosen to include this
fingering. It may not be the exact same position from day to day as our
clarinets tend to fall out of exact adjustment over short periods of time
(depending on the player's playing and overall care habbits).
One final thought: If when conducting this test you have to twist the mid joint too much (or in a way that is awkward to your fingers) in order for
the 1/1 Bb to work, then return to your repairperson and show them
exactly where you like your bridge keys to be positioned. He/she can then
adjust the pad cup to your exact specifications.
Best of luck to you!
K. Denny
BME, MM, DMA
Post Edited (2004-01-04 05:24)
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