 The Clarinet BBoard
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Author: Paul Aviles
Date: 2020-06-14 23:37
Two things
First I think that playing as free of excessive lip pressure as possible makes for easy, smooth large intervals.
Then there is the sound that you hear in hall versus a practice studio (like a Wenger module). In the posted recording the London Symphony is playing in a large hall with quite a bit of reverberation (basically added length to sound of note after it stops). So what you hear in the recording (though Stoltzman IS playing smoothly) enhances the connection of the notes. It also doesn't help clarity when the recording is transferred sloppily from a poor sounding source (like this Youtube rendering).
...........Paul Aviles
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Author: Ken Lagace
Date: 2020-06-15 23:51
Mr. Punzi likes to pop the fingers on, imitating a xylophone or pizzicato string playing.
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Author: Paul Aviles
Date: 2020-06-16 01:13
I don't know about that Ken. Seems like there are some pad related notes involved where there is an audible pop (most don't though)........maybe he is equipped with Kraus Omni pads (tend harder that Valentino Masters from what I recall of them).
For legato fingering Gennusa was a stickler for moving the fingers slowly from one position to the other. Keith Stein used to say for legato fingerings one should move their fingers as if they were suspended from spider webs (very visual description).
..............Paul Aviles
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Author: rmk54
Date: 2020-06-16 18:36
Are intervals difficult for any reasons other than just fingerings?
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Absolutely. Voicing and air stream are more critical, I think.
I agree with Ken about Punzi's excessive finger motion. It has nothing to do with whatever pads he is using, but rather the fact that he often just slams his fingers down on the instrument.
I remember my first six months of lessons with Russianoff, where I was not allowed to play anything much faster than eighth notes. Often he would grab a finger and direct it to the tone hole in a precise way, saying: not like this, but like *this*. Can't learn stuff like that over the internet!
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Author: duxburyclarinetguy
Date: 2020-06-17 01:05
For this piece and legato in general I would listen to Harold Wright's live recording of the Copland Concerto and the Pines of Rome.
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Author: Ken Lagace
Date: 2020-06-17 03:57
Portnoy taught me to move the fingers so slowly that there is a slur between notes, like a singers voice. Try it, it is not easy. It also helps connect slurs.
After practicing for a long time before mastering it, I now am sensitized to popping notes. It bothers me.
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Author: Philip Caron
Date: 2020-06-17 04:37
Very interesting, I want to try it. My own idea, which I found in the back room, has been to move the fingers almost instantaneously, but lightly and softly. On a good day I think it works pretty well (though my ears may not be so sensitive to popping.) I've experimented with the aforementioned slow motions that produce "in-between" sound; it seems harder when you're moving keys with the fingers. I'll try it some more.
There is one case that repeatedly annoys me. The 3rd finger hole has no ring and is not raised - it's just a hole in the cylindrical body (on my clarinets, that is.) When my finger closes that hole, notes tend to pop more than other notes do, especially in altissimo, as in slurs up to C#6. I've spent some time in those cases trying to cover that hole extra "softly," which works, but I'm inconsistent in doing it. However, I sometimes hear the problem happen with better players too. I think of the exquisite clarinet entrance in the Weber Quintet, C-C#6, and how rarely I hear a perfect, smooth legato between those notes.
Is the geometry of that hole the reason for its different tendency to pop?
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Author: Ken Lagace
Date: 2020-06-17 06:37
>>Is the geometry of that hole the reason for its different tendency to pop?
My guess us that the reason is that it is at a different height, and to be rhythmically accurate, you speed the finger to get there with the fingers above.
As for the Weber Quintet, how about fingering the 'C' with the 4th space Eb without the left index finger? Depends you're comfortable with the pitch, but it has more resistance, and your left thumb isn't pushing the clarinet away from your embouchure.
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