 The Clarinet BBoard
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Author: WhitePlainsDave
Date: 2014-10-29 22:47
Any good tips on how to do these without making more than 2 notes sound?
As we all know, we can't always use chromatic fingering (e.g. When notes that follow require coverage on all 3 right hand tone holes.)
Sadly, unlike so many other things clarinet, I get the idea this can't be practiced slowly at first--or can it?
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Author: Paul Aviles
Date: 2014-10-29 22:54
Also the movement from throat "F" to "F#" swapping the thumb for the first finger.
The actual moment is simultaneous but you can move the 'free' finger slowly and in an exaggerated manner right up to that moment.
................Paul Aviles
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Author: Ken Shaw ★2017
Date: 2014-10-29 23:43
Practice making the switch late. Then make it early. Work the two toward the middle. (Do it in the low register to save your ears.)
I worked on the transition between C#6 ![[C#6]](http://test.woodwind.org/clarinet/BBoard/smileys/db6.gif) and the sliver-key D#6 ![[D#6]](http://test.woodwind.org/clarinet/BBoard/smileys/eb6.gif) (as in the E major scale) over and over until I got it smooth.
There's nothing illegal, immoral or fattening about sliding. Watch a bassoonist's left thumb. String players have only four fingers (and no keys). They slide all the time.
Ken Shaw
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Author: Paul Aviles
Date: 2014-10-30 12:07
In thinking about this I realized you CAN practice this slowly if you utilize the Bonade "prepared fingers" sort of exercise. In the 'prepared finger' or 'stop staccato' exercise, you tongue a note,immediately damping again with the tongue (while continually supplying full breath push throughout exercise) to achieve a "TUT," move your fingers to the next note, then "TUT" that note, move fingers, "TUT" etc.
In the case of the finger switches, you sound the note, move twice, then sound note. I haven't tried this yet myself but I think for the sake of the Board I might just experiment on a student first to see if it works. :-)
................Paul Aviles
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Author: nellsonic
Date: 2014-11-07 02:16
Ken Shaw, I am curious as to why you would use the sliver key D# fingering for the E Major scale, rather than this one:
TR
023|003 Eb key
That's how I was trained, and it's always seemed much easier to play smoothly and quickly, despite the greater number of fingers involved. My students have also done well with it.
I am honestly curious. Thanks!
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Author: Paul Aviles
Date: 2014-11-07 02:37
For me, that is a fantastic alternate fingering but I'd stick with the sliver key when it's possible myself.
...........Paul Aviles
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Author: nellsonic
Date: 2014-11-07 09:53
Any particular reason Paul?
Paul Aviles wrote:
> For me, that is a fantastic alternate fingering but I'd stick
> with the sliver key when it's possible myself.
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> ...........Paul Aviles
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Author: cigleris
Date: 2014-11-07 12:11
While that fingering is good for some situations it shouldn't be considered a stock fingering. This is purely because of the tuning, the "silver" key fingering is more in tune.
Peter Cigleris
Post Edited (2014-11-07 12:12)
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Author: clarinetist04
Date: 2014-11-07 22:41
It's more in tune and, for me, the fork fingering is way less sensitive to having the Eb pinky key down. The 3rd-finger (RH) altissimo E-flat has never sounded at all on any of my instruments without that pinky E-flat key pressed firmly down. Of course, in general it should be in the altissimo, but not on the C#, so when I go from C# to D# I tend to use the fork too because of the issue getting the RH Eb pinky down.
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Author: nellsonic
Date: 2014-11-08 07:30
Interesting. I've found it to be without any notable intonation issues and slightly darker and fuller in tone than the standard fingering. While it's true that it won't sound without the pinkie, I'd never attempt to do it that way. I've called using this fingering in combination with the standard C# fingering "trading 2 for 2", and while awkward when unfamiliar, it flows easily with minimal practice.
The fact that some of you have experienced it as out of tune reminds me that I should check that with each student when introducing it. Always good to take a fresh look at assumed knowledge!
Ridenour says of this Eb in his "Clarinet Fingerings" book:
"The note is very full in tone and very well in tune. It speaks well in most dynamics.".
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