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 Dusapin 'If' high d#
Author: Plankton 
Date:   2019-03-01 15:35

Hi all,

I'm wondering if someone can help me - I'm learning Dusapin's 'If', and having great fun with it. It is a piece that I think will be worth the effort.

On the third page is a high D# (ie D#6, second D# above the stave). I have not been able to play this yet. D, yes but not D#. I have tried a few fingerings demonstrated by people on Youtube, but to no avail. I play a Yamaha CSG, and I've wondered if this may be a factor in achieving this harmonic.

Any help would be appreciated (especially from fellow CSG players).

Thanks.



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 Re: Dusapin 'If' high d#
Author: Ken Lagace 
Date:   2019-03-01 17:29

I assume you have tried different reeds, or mouthpieces? The higher the vibrations, the closer to the tip they happen. Sometimes a wide tip rail prohibits vibrating above a certain pitch.

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 Re: Dusapin 'If' high d#
Author: rmk54 
Date:   2019-03-01 18:06

Worse comes to worse, you could put your lower teeth on the reed.

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 Re: Dusapin 'If' high d#
Author: kdk 2017
Date:   2019-03-01 18:27

Do you mean D#7 [D#7]?

Karl



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 Re: Dusapin 'If' high d#
Author: Alexis 
Date:   2019-03-01 18:58

Hi, I don’t know the piece well, but you could try lightly puffing your cheeks on any of those potential fingerings - that can sometimes be enough to get yjem to speak

Also, you can find a high e fingering and try to work down?

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 Re: Dusapin 'If' high d#
Author: Philip Caron 
Date:   2019-03-01 19:13

If you mean D#7, that's a little more resistant on my R13s than adjacent notes, but it's "there" and eventually can become reliable. I usually finger it

T/O o x x ! x o x

Slowly play D7 and E7 and try to fit the D# in between. The voicing that works for all three will become evident. Great and terrible force is not necessary. Try for a sweet, silvery sound.

Lower teeth might help on a single note, but I don't do it in this range. Once you set lower teeth to reed, the position and force of those will dominate the result, with embouchure, tongue position and even fingering being secondary. It's very tricky to control, especially if you want a nice controlled sound.

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 Re: Dusapin 'If' high d#
Author: Plankton 
Date:   2019-03-02 14:28

Thanks everyone for the ideas.

Yes, turns out I was indeed referring to D#7 not D#6.

Thanks for the fingering suggestion, Philip. This did initially generate an E for me then 'slipped' down. Alexis, your tip of puffing cheeks was also good, can't work out why this would work but it did!

The next thing is working out how to do this note in a concert setting. That will be an interesting challenge!

Thanks all.

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 Re: Dusapin 'If' high d#
Author: Philip Caron 
Date:   2019-03-02 19:24

I didn't mean to use that fingering for E7. Sorry to be unclear. For E7 I usually use

T/O x x o | x x x 1 (1 = G#/D# rh pinky key)

For D7 I usually use

T/O o x x | x x o 1 (1 as above)

Both those seem more responsive than the intermediate D# on my instruments, so playing the chromatic sequence helps establish what embouchure and tongue application works across the sequence, and ideally, elsewhere as well. There's not much difference in what you need to do muscularly between those notes and lower ones. Practicing octaves into this range is also revealing.

Things seem to get a bit harder at F7, btw.

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