 The Clarinet BBoard
|
Author: sfalexi
Date: 2002-10-22 03:47
I have a different trill issue. Thankfully I only trill a quarter note going into an eigth note.
It's the forefinger F# to the throat G#. (I think those are the right terms.
I've been using the thumb F with the RH pushing down the Eb/Bb and the side-key above that to get the F#, and then hitting the G# key with my forefinger to trill. Any other suggestions to try? Thank you.
Alexi
|
|
Reply To Message
|
|
Author: Ken
Date: 2002-10-22 06:17
The standard left thumb chalameau F natural combined/depressed with the upper joint two lowest right side keys then trilling with the Ab/G# left index finger teardrop key is the best/most widely used for all situations. If you've got lightening technique you can trill using the standard left forefinger Gb/F# plus the Ab/G# teardrop key. Also, you can use the Gb/F# forefinger trilling with just the register key/left thumb. This one however, is generally VERY flat and stuffy sounding. v/r KEN
|
|
Reply To Message
|
|
Author: GBK
Date: 2002-10-22 06:41
For a very rapid trill, a more uncommon fingering is (if time permits) to play the F#/Gb with the <b>second</b> left hand finger, and trill to the G#/Ab using the (now free) first left hand finger...GBK
|
|
Reply To Message
|
|
Author: nzdonald
Date: 2002-10-22 09:13
or to play the F# with the normal (first) finger and trill with the THUMB on the G#/Ab teardrop key....
donald
|
|
Reply To Message
|
|
Author: Jack Kissinger
Date: 2002-10-22 14:21
or (if sitting) to play the F# with the normal finger and trill with the first finger of the right hand, supporting the instrument with your left thumb on the top joint and the bell resting on your lap. (I always do F# to G# the way Ken suggests but I mention this alternative simply to point out that sometimes the right hand can be brought into play on the upper joint for an awkward trill or tremolo.)
Best regards,
jnk
|
|
Reply To Message
|
|
Author: JMcAulay
Date: 2002-10-22 16:08
Casimir "Chilidog" Kell reminds us that if the "target" note in a oddball trill is the one rendered on proper pitch, the presentation is much more satisfactory. While all suggestions given are nicely creative, all will render the G# a few cents flat. If F# is the "target" note, this may be okay; but if G# is the "target" note, the situation is different. One of the great advantages shared by those of us who are skilled in the "Boehm" Clarinet is the ring on the left thumb hole. For the trill in question, whip the hand back and forth between L1 on the G# key and T on the thumb ring alone, *not* covering the hole. The F# will be sharp by a few cents (but better than many other trill fingerings). Intonational purists are encouraged to try a partial covering of the T hole, but that, of course, makes it more difficult to execute.
Keep on trillin'.
Regards,
John
|
|
Reply To Message
|
|
Author: GBK
Date: 2002-10-22 17:43
I have now added John "too much caffeine" McAulay's fingering idea into my personal notes.
I am eagerly awaiting publication of his upcoming book -"Eleven Dangerous and Hazardous Clarinet Fingerings", coming to chiropractic offices everywhere...GBK
|
|
Reply To Message
|
|
Author: Morrigan
Date: 2002-10-23 00:23
Just do a normal F# and normal G#, by moving the finger from it's normal position to an outstreched one. That way, there in no wrist movement and will not look stupid on stage. With my teacher, this is considered the 'normal' finger action to take.
If this doesn't help, you've got many excellent suggestions here!
|
|
Reply To Message
|
|
Author: sfalexi
Date: 2002-10-23 01:29
Thanks all. I shoulda been more specific. The target is the F#, and it's a quarter note going into an E-F# grace note followed by an E. So if the g# isn't the perfect pitch, that's ok. I'll experiment and find the one that seems to give the least volume difference. I don' want the f# to completely dominate the trill. I want it as even as can be. Thanks.
Alexi
|
|
Reply To Message
|
|
Author: Robert
Date: 2002-10-23 07:02
John- I'm not sure what you mean by "target note"?
I've always found that it is most important for the upper note of a trill to be in tune.
|
|
Reply To Message
|
|
Author: JMcAulay
Date: 2002-10-26 01:52
Robert: Sorry it has taken me so long to reply to this, but I simply haven't looked at this thread for a couple of days.
I refer to a "target" note with any ornament as the note which is actually part of the melody. With a grace note, for instance, the ornament comes first, and then the target is hit: the note which is actually part of the melodic line.
By the way: in a trill, the lower tone of the two played is the one actually written. This has been true only since around the beginning of the 19th century. Before then, trills were done conversely to the way we play them today, trilling *below* the written note. But whichever action is going on, one of the notes is a specific part of the melodic line, and the other is just what it's called: an *ornament*. It is my contention that the tone which is part of the actual melody is the one which has greater importance for proper intonation, if there is any need at all to compromise. Just as with a grace note, one wants the "target" note to be quite proper, but if the ornamental note is off pitch just a tad, well, it isn't so likely to be noticed..
I hope this is clear enough. If not, please email me and I'll try further.
Regards,
John
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
