Author: ClarinetRobt
Date: 2017-12-26 09:17
Ray...
I guess I have a slightly different take on the opening Bb. Although I agree with everyone’s assessment of the music and how it fits in with solo, sneaking in on the Bb is impressive - kinda like “look what I can do”. I’d guess doing so in a HS competition would lend itself to a competitive advantage. (Doubtful others can do it)
Seems like I read on here to think of the opening Bb like a soprano starting a note. I’d imagine she’d face perpendicular to the audience to begin and slowly turn directly to face them (crescendo/decresendo) towards the end of the Bb, beginning the sixteenth’s. Duplicating that effect on clarinet in an operatic context would be impressive.
I’m always set, ready to go - with air spinning through my horn, embouchure secured and fully supported - the measure before the entrance. No one will hear your air. On the down beat, lightly reach up and touch the reed to let it start vibrating to sneak in. Use the Bb fingering that helps achieve this goal - keeping intonation in mind. It takes practice and patience, but you can do it consistently. In the worse case senario, you get a soft Bb with no accent or bump in the sound (as written in most editions). Kinda a win/win if you can’t get it to start from vapor.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
Post Edited (2017-12-26 09:35)
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The Clarinet BBoard
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