 The Clarinet BBoard
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Author: Jaysne
Date: 2012-04-15 21:43
In Grofe's Grand Canyon Suite, movement 3 "On the Trail" has a quick bass clarinet solo: fast, staccato descending arpeggiated triplets. The progression, starting on A# just above the staff, is:
A#-F#-A#
F#-D#-F#
D#-B-D#
B-G#-B and so on.
I just noticed that, when I get to the D#-B-D# section, I can hold down both the D# key and the LH B key at the same time when I play the D# with minimal disruption to the D#'s quality. I'm thinking that, with practice, this might make this section less difficult to play, since I am not having to switch the pinky keys back and forth (RH D#, LH B). Just keep both keys down for the two D#s and just lift the D# key for the B.
What do you think? Is this an acceptable short cut in the clarinet world? Does it truly make it easier?
Post Edited (2012-04-16 02:12)
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Author: Loliver
Date: 2012-04-15 22:55
I'd say it was up to you!
Many people will say that you shouldn't, as it negatively affects the tone/ tuning, but surely actually feeling comfortable to play the notes is just as important?
I had exactly the same issue in a piece by Bernhard Cruesell (or some spelling like that), where the repeated triplets were awful, but made so much easier by just holding down the left B key for about 8 bars...
If it is just 3 notes, I think it would be acceptable, but make sure there is enough breath support, as the 2nd of the two D# might be worse off...
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Author: Hank Lehrer
Date: 2012-04-16 00:03
Hi,
We have two very fine bass clarinet players (and others of course I'm sure) that have probably played this solo many, many times. I'm anxious to hear what they ahev to say.
But I start the solo on A# but the 1 x x \ x 2 x followed by F# but the bridge key must be in perfect adjustment. My big problem is the B G# B with the left wrist the culprit (I do keep the entire right hand on the keys though).
I imagine this solo is probably on the BC audition lists.
HRL
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Author: Jaysne
Date: 2012-04-16 02:10
The triplets are really fast, so I don't think of the tone quality suffering being an issue.
I just started to practice is this way today after two weeks of the other way. I do notice that the air pressure requirements for both keys down for the D# do change--as opposed to the normal D#--so an adjustment needs to be made, one that I wouldn't need with the normal fingering. Going so fast without that adjustment lays me open for a nice big squeak.
I, too, use the xoo/oxo fingering for the A#--thank goodness for that! And yes, B-G#-B is a bear as well.
I look forward to hearing from those other great bass clarinetists lurking out there.
Post Edited (2012-04-16 02:12)
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Author: JamesOrlandoGarcia
Date: 2012-04-16 07:13
If you think it is a short cut you can get away with and your conductor hasn't said anything about it, then do it. However if a bass is in proper adjustment, you should be able to go from D sharp to B without a hitch. Thanks for the post. It made me listen to a recording when I played bass on this piece in 2004.
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Author: clarnibass
Date: 2012-04-16 07:23
>> Is this an acceptable short cut in the clarinet world? <<
The answer to this doesn't matter at all. These isn't really such a thing. Judge this only by the result, assuming you are able to evaluate the result.
Regardless of the piece, I considered playing D# with B pressed many times, deciding to do it or not depending on the specific context.
Just decide what is the best when you play it and choose that. It is a little strange if you squeak when playing the D# this way though. How much change there is to the note can depend on your instrument. You also might find that the slightly more resistant tone of the note this works better in this case (or not).
Off topic... maybe just a coincidence, but maybe Gameboy borrowed the phrase right after the arpeggio. It's in the original Super Mario in the old two colour Gameboy, when Mario gets into one of the boxes.
Post Edited (2012-04-16 07:26)
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Author: Ed Palanker
Date: 2012-04-17 01:50
The first two times it's really not all that fast, depending on the conductor of course. When it returns slightly different on the lowest notes near the end of the mov't it really moves along. I don't do that when I play it because i don't need to but my feeling with this, with any passage for that matter, is if it sounds good, or at least better, doing it one way or another than it perfectly fine. If it sounds out of tune, than it's not acceptable unless you can't play it any other way. Fair is better than bad but good is better that fair. Listen to yourself and decide. Professionals use "fake" fingerings all the time on difficult or impossible passages. This is not impossible but it is difficult for the averge player. ESP eddiesclarinet.com
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Author: Jaysne
Date: 2012-04-17 21:32
Thanks, everyone for the good responses. I'm actually doing okay with it using the normal fingerings. I just thought someone might have said, "By all means, do the other fingering, it's a ton easier!"
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