 The Clarinet BBoard
|
Author: AnnieMatilda
Date: 2008-03-18 14:54
Another beginner question - sorry to be a nuisance.
I am getting confused over which fingering to use for c/f sharp. I can understand that if the c sharp is followed by an e flat then I need to use left pinky for c sharp and right pinky for e flat. Alright so far. What confuses me is if I need to use my left pinky to play lower f sharp followed by my right pinky to play lower g sharp then does it follow that I must use my left pinky for c sharp even if it is not followed by an e flat.
Trying to clarify the question - if I use alternative fingering for one note do I need to use the same fingering for another note (either higher or lower) that uses the same alternative fingering.
I hope someone out there understands what I mean........ ![[huh]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie11.gif)
Thank you in anticipation
Annie
|
|
Reply To Message
|
|
Author: Ryder
Date: 2008-03-18 14:58
play what's most comfortable for you. That works most of the time, as long as you don't blip
|
|
Reply To Message
|
|
Author: John O'Janpa
Date: 2008-03-18 15:34
Use whichever works best for a particular passage. If you are not sure, try it both ways. I often mark my music, once I have chosen which one to use.
|
|
Reply To Message
|
|
Author: Hank Lehrer
Date: 2008-03-18 15:39
Hi Annie,
Sure, I understand you perfectly.
You are correct that with the F# and G# fingering requirement. But try to use that and the other F# at other times so that you have facility with both of them. The when you must...
Also learn the left F/C as well as the right E/B. Being familiar with all alternate fingering and exactly when they should be used is extremely important when you get into more advanced work. It's better to take a little extra time now than having to unlearn something later.
HRL
|
|
Reply To Message
|
|
Author: D Dow
Date: 2008-03-18 15:59
One element that should be considered is how easily the note emits from the clarinet...
You will also notice that the A clarinet alternate fingerings may tune to different degrees of quality...especailly in the alitissimo compared to the Bb
David Dow
|
|
Reply To Message
|
|
Author: Bassie
Date: 2008-03-18 16:26
No nuisance. Play what's easiest! It's quite common to see 'L' and 'R' written all over tricky pieces.
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2008-03-18 16:33
Since clarinets jump -1+1/2 octaves, there are a whole bunch of half steps to fill in between the low and mid registers. That extra half octave (compared to, say flute and sax) require extra keys. the throat register is extended up to 2nd line G#, 2nd space A, 3rd line Bb. Above the break, there are extra levers for 3rd line B, 3rd space C, and 3rd space C#. These are played with the pinky fingers -along with the Right side G#/D# and left side G#/C#.
There are 8 pinky keys (the woodpile) and only 2 pinkies! For the most part, there is a handy pinky key on the other side. In many cases, you can play the next note in the woodpile on the other side.
BUT
There is (usually) no left hand key for the G#/D# and no right hand key for the C#/G#. Because of that, you have to learn a few "tricks".
First: Planning.
You often have to enter a passage in the woodpile with one pinky rather than the other so that you can pass TO the right hand pinky key for D# -or TO the left hand pinky key for the G#. When you practice your scales, you should pay careful attention to what sequence of pinkies works with the key signature. For example, crossing the break going up the E Major scale, you want to take the long B on the right, the long C# on the left and the D# on the right (only choice). These "expectations" will cover many, many problems with the key shortage of a conventional Boehm clarinet.
With practice, you will learn to read ahead; and, having the key signature "in your fingers," be able to hit most of the pinky problems.
I recently spent almost an hour going over a single page etude in F# Major marking the key choices
2nd: Trading.
In slower passages (relative to how fast YOUR fingers are), you can switch from right to left pinkies to free the right pinky to stab that D#, or from left to right to free up the left pinky to hit the left hand G#.
3rd: Slipping.
When all else fails (and if often does), you must slip your finger from one key to the other. A very common "slip" takes your right pinky from the C key to the D# key. It is usually easier to slip between keys that are on the same level (right hand C and D#, B and C#, left C and G#, B and C#) or from higher to lower.
BUT, when you have to slip, it is important to look for all the possible ways to slip. It is often better to make a slip or trade a few notes ahead of the stickiest place in order to simplify the fingering.
It helps to have slippery fingers when you need to slip. Pick up some complexion oil from your nose or forehead if your fingers are sticking to the keywork.
A 4th trick: to buy clarinets with "extra" left hand Eb keys and right hand G# sliver keys is perfectly acceptable --but greatly limits your choice of instruments. Even with the extra keys, you will still find it necessary to go through the planning process.
Welcome to clarinetting.
Bob Phillips
|
|
Reply To Message
|
|
Author: Avie
Date: 2008-03-18 17:18
I understand and agree with your alternate fingering methods. Alternate fingerings should always be considered before sliding.
Some will say not to slide but there may be rare times when sliding your finger from one key to another will work better than alternate fingering so is worth trying but only after attempting all alternate fingerings.
I would consider playing whats easiest and what fingering omits a smooth sound from your particular clarinet. You may want to practice sliding from time to time along with alternate fingering to completely prepare yourself for future difficult passages.
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2008-03-18 17:30
Simply put, I try to play the third space C# in the left WHENEVER POSSIBLE such as an "A" major scale, or "A" major thirds, or "A" major arpeggios (also "D" tonality). This countervenes many who take the "B" on the left in these cases.
My rationale is that the left C# is only a MUST under relatively low percentage cases but usually then needs to be facile. I therefore think the extra "practice" just helps to iron out this technique for me........perhaps because I am "right-handed?"
.............Paul Aviles
|
|
Reply To Message
|
|
Author: rsholmes
Date: 2008-03-18 18:19
For passages where simply alternating left and right pinkies doesn't work: Besides sliding, another trick that works sometimes, if the notes are long enough to allow it, is to change fingers in mid note. E.g. for D# - C# - B - D# you might play: D# on R, C# on L, B on R but move L pinky to B key in mid note, D# on R. (Or switch from L to R on C# and play B on L.)
|
|
Reply To Message
|
|
Author: Brenda ★2017
Date: 2008-03-19 12:43
This is very true. There's a passage in the middle of movement II of the Saint-Saens Sonata that is very awkward, and in two places I've marked "switch" to switch from L to R while playing one of the notes in order to reach the clarion G# on the L. This avoids a slip, especially since my lower R pinky joint tends to lock up while playing, making a slip unreliable at best.
|
|
Reply To Message
|
|
Author: DavidBlumberg
Date: 2008-03-19 13:22
A rule that I use which was taught to me is to keep the motion in the same hand whenever possible and still avoid sliding whenever possible. I avoid using the LH C (3rd space) whenever possible - that's a fingering that little kids typically use for it when their fingers are small and can't easily reach the RH version. By 6th grade I make sure that the RH C, LH B is used whenever possible.
Any Alternate fingering should make the passage easier, if it doesn't do that then I'd avoid it.
Another big thing is not to flail the fingers too high when playing. Keep your fingers close to the keys (but don't crowd em).
There are some teachers who believe that technique can't be taught, you either have it or not. I strongly disagree. Each player does basically have their limitations, but they aren't known until a ton of work is done.
http://www.SkypeClarinetLessons.com
|
|
Reply To Message
|
|
Author: AnnieMatilda
Date: 2008-03-19 14:59
That certainly has given me a lot to mull over. I hope that eventually it will all become second nature and I will just be able to let my fingers choose for themselves.
Thank you all for for taking the time to help. I really appreciate it.
Annie
|
|
Reply To Message
|
|
Author: Brenda ★2017
Date: 2008-03-20 11:33
Actually each piece that you play will have alternate fingerings of it's own. So the idea is to learn both ways very well as a matter of course, then mark your music when working on specific pieces (aren't pencils great?) Then your fingers will "choose for themselves" in that particular piece because you've told them what to choose.
Once my required exams were completed I told my teacher I wanted to work on a study in the key of A. During all those years I hadn't become accustomed to using the right hand long B and left hand long C. It took several weeks of working on that study before my brain finally accepted those fingerings as anywhere near normal, but meantime it was very uncomfortable to say the least.
So with my students I get them started early so that they feel comfortable with playing many notes either way. Then when the music requires it, their brains won't rebel at the idea of using a "different" method of reaching the same notes. The Galper Method books are great because they require several alternate fingerings early on, and he's marked these alternate fingerings in the music so we don't forget.
|
|
Reply To Message
|
|
Author: Philip Caron
Date: 2008-03-22 00:09
I use the "same hand" rule, especially when other fingers are to be raised when the pinky key is released. So, in the ascending f-minor harmonic scale, crossing the break, C is on the left, C# on the right, then E etc. When other fingers are being lowered with the pinky it doesn't seem as hard to coordinate.
There's a high altissimo fingering - forget now which note - that speaks well and in tune, but it involves closing all the unkeyed holes on the right hand PLUS opening the little alternate B / F# key. The 3rd finger does it, but my hand twists out of normal position.
|
|
Reply To Message
|
|
Author: job_man
Date: 2008-03-23 20:36
Hello Philip
Boy oh boy! If you think F minor harmonic has a C and a Csharp in it, you're heading for big, big trouble later on. A Theory course for you, my lad!
Best wishes
job_man
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
