 The Clarinet BBoard
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Author: S.Koumas
Date: 2000-06-30 18:49
Hi again,
I know what a turn is but can never get it write! i don't know whether to go up or down a tone or semi tone etc... can anyone give me an exam?
Lets say in C for now!
Thanxs in advance!
S.Koumas
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Author: Dee
Date: 2000-06-30 21:17
Go right down to the music store and get a copy of Rubank Advanced Volume I method book. It very clearly shows how to play turns.
However a quick summary. Just follow the "humps" in the turn sign. If the first hump goes up and the second one goes down, then you play the note, the next note up, back to the note, the next note down and back to the note. If the first hump goes down, then start on the note and go down.
The notes are in the scale of the key signature unless the turn sign is accompanied by an accidental. If the accidental is above, it is applied to the top note of the turn. If it is below, it is applied to the bottom note of the turn.
Ok so now here are basic turns on the note C
1st hump of the turn sign is up: C D C B C
1st hump of the turn sign is down: C B C D C
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Author: S.Koumas
Date: 2000-06-30 23:21
Thanxs,
Also i there a different style of turns for different music, e.g. would you play a classical turn different from a Jazz turn or a they just the same thing!
Thanxs!
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Author: paul
Date: 2000-07-05 21:05
A turn is a turn is a turn. A mordent (one note trill) is a mordent is a mordent. Ditto for grace notes, trills, and other embellishments. I've heard turns and mordents, grace notes and trills in both classical and in jazz, and as far as my own ears can tell, they aren't any different across different styles of music. Just keep up with the rhythm and play the embellishment within the allotted time for the music. Stay in key and watch for accidentals, especially for the embellishments. Remember, embellishment accidentals do not change the key in the measure like ordinary accidentals. Beware, slow music requires a slower pace and faster music requires a faster pace. The trick is to practice the embellishment countless times until you can make it flow with the music like a silk scarf on a summer breeze instead of standing out like the spikes on a cactus. The trickiest turn I've found in my very few years of experience as an adult novice was a high chalemeau and low clarion combination centered around Bb. A real knuckle buster across the register break. An extreme challenge to get smooth and totally in rhythm, even at a slow pace. I have this particular example in my Langenus 2 book. Since Langenus and Rubank have lots of exactly the same material, you might find it in an Advanced Rubank book, too.
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