 The Clarinet BBoard
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Author: ksclarinetgirl
Date: 2004-04-02 03:51
Before I even start w/ my question, I just want to let you all know that I have done as much research on this as I can w/ my busy schedule, and did not find much to help me!
In our band we are playing an Eric Whitacre piece called "Godzilla eats Las Vegas." A little more than halfway through the piece, there is a very exposed solo that includes a slide starting on a clarion B and going up to an altissimo E. I can play the slide up to clarion C w/ no problem, I've played the solo on Rhapsody in Blue. However, how exactly do you slide into the altissimo range? Thanks for the help in advance
Stephanie :o)
"Vita Brevis, Ars Longa"
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Author: Markus Wenninger
Date: 2004-04-02 06:08
That´s a tough one, I can imagine. In that register I resort to hitting as many notes as possible, with more or less help with voicing ("pulling it up" with vocal support whilst playing). P.M.Davis´ "The Seven Brightnesses" contains such Glissandi as well - tell me, what kind of music is this piece You´re playing?
Markus
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Author: Liquorice
Date: 2004-04-02 06:18
I would use the throat A fingering to get up to high Eb. The pitches are so flexible around there that it's easy to smear using these fingerings. I'm not sure about the high E. Perhaps the throat A fingering with a combination of some of the side keys? Try it out and let us know what worked for you.
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Author: Jeroen
Date: 2004-04-02 06:22
Good question.
I have the same problem with the glissando in the Artie Shaw concerto from clarion G to altissimo G. I recently spend some time on it but there are some "breaks" it seems impossible to cross.
But it is possible listening to the Artie Shaw recording....
How did he do it?
Jeroen
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Author: GBK
Date: 2004-04-02 06:27
In this specific gliss, try the gliss by using some alternate fingerings, so all the notes stay relatively in the same overtone series.
Play the B5 with the standard fingering.
Play the C6 with the standard fingering.
Play the C#6 by overblowing 1st LH finger F#4
Play the D6 by overblowing open G4
Play the D#6 by overblowing throat G#4
Play the E6 by overblowing throat Bb4.
Now, just gliss them all together smoothly by coordinating the fingering with embouchure/throat tightening.
**NB - one very helpful tip: To make the transition from the D#6 to E6 even smoother, as you overblow the throat G#4 to throat Bb4, insert a throat A4 in between those two notes.
Takes practice ... GBK
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Author: sfalexi
Date: 2004-04-02 06:32
Quote:
Good question.
I have the same problem with the glissando in the Artie Shaw concerto from clarion G to altissimo G. I recently spend some time on it but there are some "breaks" it seems impossible to cross.
But it is possible listening to the Artie Shaw recording.... Quote:
How did he do it? I never did before hearing this, but now I believe in magic.
US Army Japan Band
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Author: Jeroen
Date: 2004-04-02 06:54
To GBK,
Do you have such a good tip also for G5-G6 gliss?
It seems to me that you have to switch to a different overtone series somehow and somewhere in the range.
Jeroen
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Author: Jack Kissinger
Date: 2004-04-02 13:24
I can't remember who originally suggested this to me but, instead of crossing the break from C (RT ooo ooo) to C# (RT oxx xxo) try sliding up to C# (RT G# ooo ooo) before you cross the break to C# (RT oxx xxo) then go on up. It may help a little. For me however, the control mostly feels like it comes from the throat rather than the fingers. The fact that Shaw executes his slow gliss flawlessly proves it can be done. (And he probably did that sort of thing almost every night.) For some odd reason, however, Jon Bruce Yeh didn't get it completely seamlessly on his recording -- odd, considering his ability and the option to do retakes.
Best regards,
jnk
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Author: GBK
Date: 2004-04-02 15:41
Jeroen said:
> To GBK,
> Do you have such a good tip also for G5-G6 gliss?
> It seems to me that you have to switch to a different overtone series
> somehow and somewhere in the range
For the the G5 to G6 gliss, I use standard chromatic fingerings, ending with the G6 fingered:
TR o x o + right side Bb/Eb / o o (sliver F# key) o Eb/Ab
That way, the G6 stays in the same overtone series as the previous chromatic notes C#6 to F#6.
Again, a combination of embouchure/throat tightening and fingering coordination will get you over the C6 to C#6 "break".
I like Jack Kissinger's idea as posted above and certainly think that is a viable alternative.
**NB - One additional tip - I put on the right pinky Eb/Ab key from the opening G5 and leave it on for the entire gliss. It seems to help the transition a bit more.
You may not conquer this gliss in one afternoon, but with practice it can become fairly seemless...GBK
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Author: bob49t
Date: 2004-04-02 17:37
Stephanie,
You say you can manage a gliss up to clarion C ok. Well you're nearly there and with a little practice it will be ok up to Altiss E.
Just don't let your reed/throat pressure catch up with your fingers, until you've got your final fingering of E in place (or any other altiss note for that matter) I finger a chromatic run in altiss from C# quickly and can get a seamless transition before my lip pressure resolves to normal for the "goal" note.
In other words don't resolve your gliss at C and start again for the next run - continue through it and on up, to resolve on E.
You may have to work on the timing into altissimo to find how it suits you, your mouthpiece and instrument.
Hopefully you'll find Blissando !
RT
BobT
Post Edited (2004-04-02 17:40)
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