Author: Jack Kissinger
Date: 2005-08-12 16:04
Aha, I see now that I was talking about the wrong gliss. In your original post, I saw the G starting point and apparently just blew by the fact that the one you were asking about ends on C. I think it was late at night and, for me, the long slow gliss near (but not at) the end has always been the risky one. I need to look at the one you're asking about again. My approach has been to cheat at the end, play a "turn" around the G and attack the C. (Just hitting the C will amaze most audiences.) If I can work something out, I'll post it but I probably won't come up with anything that hasn't already been suggested.
If you listen to Artie Shaw's recording of the concerto, I think you'll hear that he performs the triplets by bending the pitch with lip slurs rather than by fingering triplets. The triplets written out are approximately what the lip slurs are supposed to sound like. They go by so fast though that I think simply playing the triplets as written is just as effective in a live performance.
Best regards,
jnk
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