 The Clarinet BBoard
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Author: fskelley
Date: 2017-09-21 06:14
I think I got the suggestion to do this from one of Tom Ridenour's videos, though it probably is also somewhere here on this forum- to open the A key when playing long pipe clarion B4 ![[B4]](http://test.woodwind.org/clarinet/BBoard/smileys/b4.gif) . I do it any time B4 is troublesome or doesn't feel right, and it's an immediate improvement, powerful and stable. Amazing stuff.
When my crow's foot and associated hardware are perfectly adjusted, and my reed, ligature, mouthpiece, and embouchure are all aligned with Jupiter and Mars, I have no trouble with B4. That is to say, never. But mostly B4 is not an issue. There are a few places in my arrangements, though, that I've already formed the habit and always open the A. Wonderful. Today I added another one, hadn't really thought about that one, but it's early in the song, a long and pivotal note in the passage, and today was a tad flaky. Fine- is it convenient to open A? sure no problem, and that particular B4 will never be an issue for me again.
Who else does this? Anybody sworn off of it? (if so, why?) Any other "unusual" fingerings you find equally rewarding?
Stan in Orlando
EWI 4000S with modifications
Post Edited (2017-09-21 23:24)
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Author: Luuk ★2017
Date: 2017-09-21 11:35
You are using the A vent as a register vent, but lower on the clarinet than the regular register vent.
As you may know, the register vent should be located at a low pressure node in the bore. This node moves downward with 'longer' notes. The register vent however is fixed at its location, which is generally too high for B4 (and C5). By opening the A you effectively move the register vent to a lower position, better matching the location of the low pressure node.
Try this: rest the bell on your knee, and use your right thumb to reach the four upper trill keys (normally operated by right hand index finger knuckle). Finger the B but leave the normal register key closed, and open the trill key second from above. Try the same with C, but with the key first from above.
I seem to remember I got this ideas for Mr. Ridenour, but I don't remember how or when.
Regards,
Luuk
Philips Symphonic Band
The Netherlands
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Author: rmk54
Date: 2017-09-21 16:09
Tom got this idea from Harold Wright, who often used this if he needed to raise the pitch on this particular note. It also lessens the resistance of the note if you need to make a soft entrance.
I remember seeing him (Wright) take advantage of this in the slow movement of Brahms 4, probably to match pitch with the horn.
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Author: fskelley
Date: 2017-09-21 16:47
It probably depends on the particular instrument, but I get very little pitch effect from opening or closing A mid-note. Timbre is another matter.
I'd be especially curious whether anyone opens A during a quick B4, and why- since it's a bit awkward.
Stan in Orlando
EWI 4000S with modifications
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Author: Caroline Smale
Date: 2017-09-22 01:49
I have used this venting for many years, so far back I can't recall where I originally got it from. In general I find it makes a greater difference to the A clarinet than the Bb, probably because of the longer tube length for B4 on the A clarinet.
Another fingering I sometimes use is to add the B4 key when playing B5. This seems to add more resonance to the B5. The degree of improvement however varies quite a lot between clarinets, and even to some extent with different reeds.
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Author: Chris P
Date: 2017-09-22 03:07
And while holding the throat A key open for the B, trill with RH finger 1 and that will give you an A-B trill.
I often wondered how players managed to do an A-B trill on 5 key clarinets as they don't have the luxury of trill keys, so that was a nice discovery which was mentioned by Tony Pay on here a fair while back.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: fskelley
Date: 2017-09-22 04:16
Chris and rmk54, I think there are very few undiscovered useful tricks, only those lost to time or unfamiliar to some of us. This is one I am glad to know. Not essential, but very very nice in the right place.
David, today I rechecked the B4 tuning, venting A does drive it a tiny bit sharper, but almost imperceptibly. If sharpening is more serious on other clarinets, that makes me suspect Tom actually designed his instruments to allow unfettered A venting.
I also tried A vent on C5 ![[C5]](http://test.woodwind.org/clarinet/BBoard/smileys/c5.gif) - also fine but not much of a change. And adding RH B/E key (right, Caroline?) to B5 ![[B5]](http://test.woodwind.org/clarinet/BBoard/smileys/b5.gif) didn't do much, but perhaps some time when B5 is causing trouble (it happens) I will try that again.
Luuk, the standard register key is an ugly compromise, but the alternatives (Rube Goldberg mechanisms, other fingering systems) are at least equally unpleasant. Alternate fingerings help when we need and are able to use them. Like side Bb instead of register key throat Bb.
Stan in Orlando
EWI 4000S with modifications
Post Edited (2017-09-22 04:28)
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Author: zhangray4
Date: 2017-09-22 05:16
These alternate/resonance fingerings are amazing. As a student, I truly appreciate you guys sharing your knowledges!
For me, the vent A on B4 barely changes the pitch for me (playing on Buffet R13). Would you guys recommend that fingering if my director asks me to play a held out B4 for tuning?
-- Ray Zhang
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Author: nellsonic
Date: 2017-09-22 09:24
Ray - only if you think it sounds better and you want to impress him! Whatever note your ensemble uses for tuning is only a reference point. Know how the rest of your instrument relates to that note tuning-wise and adjust accordingly. If a concert A is the tuning note and it tends sharp on your instrument, tune the note and then pull out the appropriate amount in the appropriate places afterwards.
If you are providing a tuning note for the rest of the ensemble 1) be in tune and 2) play with your very best tone. Great tone is easy to tune and tune to. Poor tone almost impossible.
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