 The Clarinet BBoard
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Author: mike
Date: 2002-10-21 23:21
I am trying to trill between A (at the break) and the C just above. No, I did not write this piece but I do have to perform it this friday. Any advice would be great.
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Author: Ken
Date: 2002-10-22 00:01
Two standard choices are:
1) Standard throat A fingering to standard full/break C natural, (back and forth) but keep the lower joint, 3 fingers on the right hand (index/middle/ring) ring keys down AND the C natural right pinkie key down. All movement is with the left hand, full/break C to throat A natural. The A natural pitch is a tad flat but shouldn't matter at the speed of a trill (slower tremelo might be an issue).
2) Standard throat A fingering simultaneously with the upper joint, top TWO upper right side, top two keys plus register key (open register hole). However, on this selection you can add a little more "stability and accuracy" by first fingering a standard throat Ab, hold it down then finger the A natural and trill. v/r KEN
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Author: jez
Date: 2002-10-22 00:01
Trill the 2 top side keys & the speaker key together
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Author: GBK
Date: 2002-10-22 00:17
mike - Technically A4 to C5 is a tremolo, not a trill.
Ken's 2 suggestions are the best.
However in Ken's first suggestion I also keep the 3rd finger in the LH down for a bit more leverage.
There are many LH exercises which one can find to add facility to this move...GBK
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Author: Ken Shaw
Date: 2002-10-22 16:02
Here's a variation on the one I posted a couple of weeks ago.
Play the C and rotate your left wrist slightly to open the throat A key. Then raise and lower your right index finger for the tremolo. Both notes will be dull, so you'll have to blow a little harder, but it works from A to B and from A to C#, so it should work for A to C.
Best regards.
Ken Shaw
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Author: JMcAulay
Date: 2002-10-22 16:24
This really can be simple if you don't have to go anywhere else in a big hurry. Use the throat C fingering, L1 on the A key and R1 on the two top side keys, but use the *right* thumb to open the speaker key. This is much easier to execute without sloppiness rather than trying to synchronize left T and R1. Alternatively, if you can tolerate a slightly flat C, here's one which looks even more weird: Play the A by using R1 on the second side key, then go to C with T on the register key and *your choice of a left finger* on the top side key.
Tremo-lo-ho-ho.
Regards,
John
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Author: GBK
Date: 2002-10-22 17:31
He's back...
We now know where JMcAulay has been all week - on the bassoon bulletin board picking up ideas.
Bravo John...GBK
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Author: JMcAulay
Date: 2002-10-22 18:14
Actually, I've not played a Bassoon since the old days in the College Orchestra....
I've lately been lurking on the Ophicleide newsgroup, <alt.music.whattheheckisthatthing>
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Author: JMcAulay
Date: 2002-10-22 18:16
Oops, i canceled it myself. The Ophicleide newsgroup is alt.music.whattheheckisthatthing.
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Author: Robert
Date: 2002-10-22 20:20
JMcAulay- I'm busy playing in a production of "Benvenuto Cellini" in Zürich. There's a big Ophicleide solo in this opera, and the guy playing does it in costume on stage. He's a specialist in Ophicleide (!!) and does an excellent job, although it is one of the most hilarious-looking things I have ever seen! Sorry to bring this up on the clarinet BB. Guess I should visit whattheheckisthatthing! :-)
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Author: JMcAulay
Date: 2002-10-23 05:08
I had no idea anyone would produce "Benvenuto Cellini" nowadays. But it's quite a production about quite a guy, and the Ophicleide is quite an instrument. Irt would be interesting to discuss trill fingerings for one of *those*. Where on Earth do you find someone who knows how to play one of the things (yeah, Switzerland, obviously)? And y'know, you are correct: it really does look absurd, doesn't it?
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Author: Robert
Date: 2002-10-24 08:08
The Ophicleide player is from the Orchestre Révolutionnaire et Romantique. John Eliot Gardiner gave him 6 months off to learn the instrument for performing works by Berlioz and Mendelssohn. Since then he's making a career throughout Europe as one of the top Ophicleidists!!
Funnily enough- the Benvenuto Cellini solo end with some trills, first a semitone and then a tone. His fingers move about 5cm above the keys, and it's the highlight of the show!
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Author: JMcAulay
Date: 2002-10-24 09:05
I dislike hijacking a thread, but by now, it's too late to care. I recall many years ago Robert Angus wrote that he became interested in Opera because his father told him it was the best bargain in entertainment. On orchestra, a play, dancing, singing, and -- on occasion -- even a menagerie. Good grief, adding an Ophicleide player trilling 5 cm above the standard key positions would be the greatest draw of all to get *my* attention!
A professional Ophicleidist? Wow! I once thought about doing that with a Sarrusophone but (no doubt fortunately) thought better of the idea.
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Author: diz
Date: 2002-10-24 23:25
LOL!! @ McAuly - "lurking on an Ophicleide newsgroup" just made me chuckle.
Also - your comment
"I had no idea anyone would produce "Benvenuto Cellini" nowadays"
is exactly the reason I DON'T go to the opera very often - I'm sick to death of Bohemians, Butterflys, Toscas and Figaros.
Actually - Opera Australia "did" Beatrice and Benedick last year - it was terrific. I say bring on the more obscure works and be adventurous.
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Author: JMcAulay
Date: 2002-10-26 04:54
diz: One of my favorite off-the-air videotapes somewhere in my collection is the Canadian Opera Company's production of "Carmina Burana," featuring Joan Sutherland with Lotfi Mansouri conducting. Hey, just about nobody produces Orff, and it is nicely done. I do not think it has ever been released for sale, although I might (as happens all too frequently) be wrong. And for you real Opera Nuts (as is my wife), she and her younger daughter were in Paris a few years ago and sat through a complete production of "Les Troyens."
Regards,
John
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