Author: seabreeze
Date: 2018-03-05 06:07
Most of the gliss comes from the tongue moving higher in the oral cavity, and you just lead the pitch along a bit by gradually pulling the fingers back. Lots of players don't start the gliss till they are over the break, maybe on the clarion D, but some of the older players started it much earlier. You can start it in the throat register and finger the Bb to B just as you suggested. Once you are over the break and on the B the rest should be smooth sailing. Glen Johnston was one of the early Rhapsody and Blue opening solo players (probably giving the premier in California) and I believe he played it starting the gliss before the break and right through using your suggested fingering for Bb. He said he figured out how to do this listening to (and watching) Barney Bigard in the Ellington Band.
Listen to Al Gallodoro in the 1945 Warner Brothers moive RHAPSODY IN BLUE (1945) DEBUT
https://www.youtube.com/results?search_query=Rhapsody+in+Blue+(1945)+Rhapsody+in+Blue+Debut. [First Hit on Top of Page]
This has got to be one of the best versions recorded, for the 1920ish Great Gatsby aura in the sound. Gallodoro is corny, hot, jazzy, impudent, snarky, and sophisticated all at the same time to say nothing of how hard his interpretation is to play and how well he pulls it off. He was always ahead of the curve, doing double tonguing, for instance, long before it became popular and in an early performance of Leonard Bernstein's Prelude, Fugue, and Riff, Gallodoro not only plays the clarinet solo without losing a beat or a drop of sweat, he plays the lead alto sax part as well!
Wow, we really hijacked this thread about after market bells! My apologies to the original poster.
Post Edited (2018-03-05 21:48)
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The Clarinet BBoard
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