 The Clarinet BBoard
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Author: Titan9
Date: 2010-09-10 23:25
My apologies if this topic has discussed before, I searched this site with all of the pertinent keywords for this issue yet found nothing of relevance.
In a little over a month I'll be heading to New York for an artists' competition. I've selected my rep, and one piece I plan on playing is Derek Bermel's 'Theme and Absurdities.' It's a short, humorous virtuosic piece. You can listen to it here: http://www.derekbermel.com/music_detail.cfm?trackID=24
Around the 2:45 mark there is a gliss in the music, starting on a c# and going all the way up to a high C (five ledger lines underneath it). I can gliss up to a high G without a problem, yet finding a fingering pattern to navigate the 'break' between the G and the fourth up to the C has eluded me. I have a pretty comprehensive fingering chart to help me, yet I've not been able to find something that consistently works.
As an interesting side note, glissandos similar to the one in this piece are found in Penderecki's Prelude for Solo Clarinet and the first movement of Aho's Clarinet Concerto.
If anyone has some ideas about how to play the gliss, it'd be much appreciated. I sincerely thank you all for your input.
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Author: sfalexi
Date: 2010-09-10 23:34
I'll be watching this thread with GREAT interest. I can get to G too (discovered a few days ago and VERY giddy about it!), but that high C has always eluded me.
You might want to search on the board for "artie shaw concerto gliss" or something like that. The shaw concerto goes from G to 5 ledger line C. So there may be tips around here somewhere...
Alexi
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Author: EEBaum
Date: 2010-09-11 01:03
If I've been practicing it, I can get up to a B pretty reliably (there are a couple pieces that require that, including one I wrote). To get from the clarion to the first register of altissimo, I do a kind of fudging jump in the vicinity of C where I finger the 23/12 C# and "catch" the same pitch on another partial. Then I do this again in the vicinity of the F# and it catches a higher partial yet. I can't say which fingers exactly I catch it with because I haven't done it in a handful of months and it varies a bit day to day, to the end that I would do it more by feel than by a particular technique. I can work it up again if you're not having luck with it and want something more specific.
-Alex
www.mostlydifferent.com
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Author: Bob Bernardo
Date: 2010-09-11 03:00
I really enjoyed this piece and the player. He did a great job!
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: grifffinity
Date: 2010-09-11 16:05
I worked with Derek when he was head of Making Score at NY Youth Symphony. He is a fantastic person. Unfortunately I never had the opportunity to hear him play clarinet. Nice surprise!
ETA: I find the altissimo section at 2:57-3:07 slightly reminiscent of the Martino Set 1st Mvt.
Post Edited (2010-09-11 16:08)
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Author: William
Date: 2010-09-12 00:08
To do that Artie Shaw, CONCERTO FOR CLARINET final gliss up to C7, I just use the conventional chromatic fingerings, a loose embouchure and finger somewhat ahead of the note I'm going to. I end up fingering the C7 while actually sounding a B6 and lip up to it. You need a good reed and I have had success with V12's, but most recently, Forestone F5's. With those reeds, I can actually get up to a D7 on a "good day"--and if I cared to practice a bit harder and actually learn extended fingerings, could probably go higher than that. But for me, glissing to the C7 is doable using the same jazz technique that gets you to the G6--just have the courage to go higher.
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Author: Titan9
Date: 2010-09-13 05:13
Well, two days later and with lots of blood coming out of my ears, I think I may have found a solution. When I gliss to the high G, I use:
T/R 1--|--- Eb
When the sounding pitch has caught up to the fingered pitch, I quickly switch to Ab:
T/R -23|1-- Eb
to A:
T/R -23|--- Eb
From A to C: Add the right hand sliver key, remove the thumb, add the LH first finger G# then A keys, then finally the upper two right hand side trill keys. The final high C will look like this:
R A -23 (00..) | -- , - Eb
Adding the keys from G to C should be done in quick succession and with a somewhat loose embouchure. You'll have to mess around with jaw pressure to find the balance between squeaking and cutting off the notes, and spend time making the jump between G and Ab as seamless as possible. Although more time will have to be spent making this special effect more polished, I feel pretty comfortable with what I came up with. So far I'm having a decent success rate with it. I hope you all find success as well.
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