 The Clarinet BBoard
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Author: Jim A.
Date: 2002-11-01 16:07
I am playing for a musical production here locally, and the transcription for band has much of the music in four and five sharps. I have been working on the scales and exercises in my Baermann Book 3 (ed. David Hite) to try to get my fingers thinking about these keys. There is a notation for a difficult fingering which I do not understand and for which I canŐt seem to find the answer.
This is found in the E major section, page 33, the Interrupted scale exercise toward the bottom of the page in the first measure of the second line. The last two groups of 1/16Ős are A-B-C#-D# B-C#-D#-E. There is an "R" over the B in the first group, and a horizontal bar over the B-C# in the second group.
Following this pattern, starting with the right hand for the B in the first group, when you get to the D# in the second group, it is set up for the left hand, for which there is no fingering. The only thing I can figure is that the horizontal bar must mean to slide from the B to C# with the left pinky, leaving the right pinky for the D#. Would the be correct?
This same figure appears in the musical transcription several times as well, so any help with this fingering would really be appreciated.
Many thanks,
Jim
Ketchikan, Alaska
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Author: AL
Date: 2002-11-01 16:25
Sounds good.
All beginners would be better off with the Ab-Eb key.
OF COURSE all manufacturers would have to, from this day forward, ABSOLUTELY produce all clarinets with this mechanism.
Lots of luck.
Think of all the trouble we'd avoid if we had that key 100 years ago.
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Author: E. Thomas
Date: 2002-11-01 17:07
Gliding (or gliss. as it is noted in Hamelin) is permissible; so you "may" glide with the lift-hand "pinky" from B to C#. Now, we purists prefer "finger-trade" if it is at all possible which means you'd have to play the 2nd B with the left "pinky" and simultaneously place the right "pinky" on the other B while moving the left-hand "pinky" to the left C-sharp lever. You could even wait for the trade to happen on the C-sharp, but that would be a bit MORE awkward. Even I would probably "gliss." between B and C# with the left-hand "pinky".
All the best,
Simon Pure
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Author: Wes
Date: 2002-11-01 17:28
One can slide the ways described above and one could also do a cross slide from the D# to the right hand B. Any port in a storm!
The left hand Ab/Eb could be on all clarinets for very little added cost.
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Author: julia
Date: 2002-11-01 18:02
yep---you are are correct!
good job!
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Author: GBK
Date: 2002-11-01 18:39
Jim A...If you prefer to "gliss" (or "slide", or "glide", etc...) with your pinky, a little oil or grease from the bridge of your nose helps the finger become a bit more slippery on the key.
However, if you have just eaten a pizza with extra cheese, anchovies, and sausage, no extra oil is necessary...GBK(who has played too many gigs in Italian restaurants)
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Author: Henry
Date: 2002-11-01 19:58
That makes me wonder why manufacturers don't equip those keys with rollers, as on saxes and, I believe, on Albert clarinets. Just tradition?
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Author: Dee
Date: 2002-11-01 20:13
Yes, the author intends for you to slide from the B to C#. It's really not difficult after a little practice.
Note that the Rubank Advanced volumes and the Klose have specific exercises to develop facility in sliding.
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Author: Jim A
Date: 2002-11-02 01:03
Many thanks for the replies. I did take a casual look at my Klose but didn't find anything. I'll try to look again.
GBK: Thanks for the pizza idea! I really enjoy your posts. I am afraid that I'm having enough trouble keeping my fingers on the keys without any extra help. Thanks.
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Author: JMcAulay
Date: 2002-11-02 04:39
In keeping with my usual campaign to save the world from something-or-other, I remind one and all again that the L4 "extra" key is a G#/D# key, not Ab/Eb. Despite what some of the manufacturers call it. Why? Because if you are playing A or E and hit that key, it won't make either one flat. But if you are playing G or D and hit it, sure enough it makes 'em sharp.
Regards,
John
who cannot recall ever having played a gig in an Italian restaurant (except for one wedding, which was done free for a friend -- never again -- but at least the Spaghetti alla Bolognese was good)
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Author: Mark Charette
Date: 2002-11-02 16:25
JMcAulay wrote:
>
> In keeping with my usual campaign to save the world from
> something-or-other, I remind one and all again that the L4
> "extra" key is a G#/D# key, not Ab/Eb. Despite what some of
> the manufacturers call it. Why? Because if you are playing A
> or E and hit that key, it won't make either one flat. But if
> you are playing G or D and hit it, sure enough it makes 'em
> sharp.
Of course, if you call it by the technically correct term but no one knows what the heck you're talking about, then
"What we have here is a failure to communicate ..."
And arguing about it will probably just make people ignore what you're saying.
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Author: Robert
Date: 2002-11-02 23:27
JMcAulay - So the speaker key is also an A-sharp, rather than a B-flat key? What a load of nonsense!
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Author: Ken
Date: 2002-11-04 20:36
The factory can call the articulated left pinkie key what they want but as soon as you start reading music isn't it all relative and the rules of notation apply? Fundamental literacy dictates the correct name of a note(s). If you are reading in a "flat key" and use the LH auxiliary key the note should be properly identified as a flatted note...Ab/Eb. Likewise, in a "sharp key"...G#/D#. Nobody I ever heard of reads what is clearly notated as a flatted note and calls it a sharp unless they're reading enharmonically and/or in C major (no sharps or flats) or when transposing a whole step or more. In practical application that key is BOTH an articulated G#/D# and Ab/Eb based on the rules of the ink. Technically, yes, by design and pitch assignment it is a G#/D#. v/r KEN
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