 The Clarinet BBoard
|
Author: Fishamble
Date: 2010-01-29 09:18
Hi,
I'm playing bass in Paris Sketches with a band at the moment. There's a very exposed solo bass part that consists of semi-quavers (first-line) E - F# - G# - A# - B and back down, repeated. It's fast, and my technique isn't doing it justice (to put it mildly!), especially the G#-A#-B over the break.
Are there any alternatives to the standard fingerings, or alternative ways of playing this sequence of notes? The Bb+3rd r.h. side key is unusably flat for B. Or is it just a dose of B maj drills for me for the next few weeks?
I may ask a Bb player to cover the part as it's in range, but I'd like to get on top of it myself.
Thanks in advance,
David.
|
|
Reply To Message
|
|
Author: vin
Date: 2010-01-29 11:47
I hate to be the bearer of bad news, but it you want to get it clean, do it 1,000 times (many slow repetitions, some medium, some fast and take breaks). It will undoubtedly be much easier then.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2010-01-29 12:12
Obviously the composer didn't forsee this trouble - they often go by a range chart instead of a chart which shows the troublesome areas within any woodwind's range.
What's the B like using standard throat Bb fingering and the upper trill key?
If it's proving a real headache, couldn't the tenor sax player do it instead?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Fishamble
Date: 2010-01-29 12:24
Thanks.
Yeah, plan A is some hard work, if the time is available. Plan B is to pass it on.
I hadn't thought of the tenor sax - that would work nicely as an alternative to a clarinet covering the part because the clarinet section comes in after 2 bars with the same, and it would be good to retain some contrast between the sounds.
Chris, the Bb+4th r.h. key is way sharp, and a pretty poor sound, unfortunately.
David.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2010-01-29 13:10
If you're not too reliant on using the top trill key for anything else in the programme, take the side and trill keys off and fill in the top trill key tonehole with Blu-Tack or similar (stuck onto the upper side of the tonehole to narrow the diameter) until it flattens it enough to give a decent B - you can check the tuning as you go with the side/trill keys off but block up the other side key toneholes so you have the proper venting for the Bb+top trill tonehole fingering for B. And with Blu-Tack, you can remove it easily afterwards.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2010-01-29 13:18
Attachment: toneholes.jpg (15k)
Attached is a diagram of how the tonehole will look before (a) and after (b) filling with Blu-Tack to flatten it.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2010-01-29 13:19)
|
|
Reply To Message
|
|
Author: Ed Palanker
Date: 2010-01-29 13:38
Since using the LH trill keys for the B is not satisfactory I suggest you keep your right hand down as if fingering the B when you begin playing the G# and back. If you can you can leave the pinky down in the right hand for all the notes, that won't effect the pitch of the E and F#. You will have to practice it to feel comfortable though. If all else fails have the clarinet play it an octave lower. ESP http://eddiesclarinet.com
|
|
Reply To Message
|
|
Author: clarnibass
Date: 2010-01-29 14:00
You can try B by fingering throat A key and the top right side trill key. Throat Bb plus top trill key deson't give a B anyway. Since you describe it as difficult then I assume it's extremely fast and in that case tone is less important than intonation for that one note IMO. Throat A key plus top trill might be in tune or close, but maybe not easier than the normal fingering. Anyway with normal fingering it sounds like it should be possible to play with practice and htta is probably the fingerings I would choose.
I don't know your level, but also maybe consider this. Although this should be possible to play on pretty much any bass clarinet in good condition, a slight leak or adjustment problem can cause the B to response much worse. Also some bass clarinets have a poor response of the middle B. This could contribute to the problem.
|
|
Reply To Message
|
|
Author: William
Date: 2010-01-29 14:23
Another possible cheat fingering would be to play the A# using your low Eb key fingering with the octave key. That would allow your left hand to stay more in position than having to play the "pinch" A# to full B finger shift. The challenge then would be coming off the G# to alternate little fingers--A#, B, A#, etc. Personally, I would use the trad fingerings, but if that is impossible for you, the "full" A# may work.
Full A#: TR XXX/XXX rh pinky low Eb key
Post Edited (2010-01-29 18:48)
|
|
Reply To Message
|
|
Author: DougR
Date: 2010-01-30 05:03
Chris, what a neat diagram! I'd be tempted to try the blue-tac approach just because your drawing makes it look doable.
the other way to do it, of course, is to play it on your A bass!!
er, hmm, come to think of it, does the music give you time to switch to YOUR A clarinet? THAT would be a snap in the low register!
|
|
Reply To Message
|
|
Author: Fishamble
Date: 2010-01-30 09:46
I second that on your diagram, Chris. I appreciate the trouble. And I'm off to buy blu-tac now.
Thanks everyone - my agenda for the weekend's practice is now packed!
|
|
Reply To Message
|
|
Author: Hank Lehrer
Date: 2010-01-30 10:15
Ed's "keep the RH on" as much as possible is something I would do on BC since I do it on soprano clarinet. But the idea of the pinky staying down is clever since on BC, I always have a tad of trouble from time to time finding the R pinky key between the other two on that side. Using that trick might even anchor the RH a little better.
A similar little passage that I continue to work through on BC is the On the Trail solo from B to G# to B over the break. I'm thinking of having my tech change the placement of the G# touch with a new cork so the throw of the key is sufficient to vent the G# properly but not so as to require too much LH motion. This might help on your BC as well with this passage.
HRL
PS I practice the B scale a lot but be sure to work over the lower neighboring tone from B slowly.
|
|
Reply To Message
|
|
Author: DezzaG
Date: 2010-01-30 21:13
The composer (Martin Ellerby) definately knows what he's doing, his wife is a clarinetist. He writes some fine music. Stick with it! When my wind symph played this our Bass player(my wife) used normal fingerings, you will grow more as a player if you don't give in and use the alternate choice. Also you will get a fuller sound.
D
|
|
Reply To Message
|
|
Author: Fishamble
Date: 2010-04-18 11:18
Some 'closure':
Performed Paris Sketches yesterday, and after tipping away at my B Maj scale over the last few months got this run to play more smoothly than I could have imagined! It's a crystal-clear illustration for me of what you can achieve.
I used the advice to hold down the r.h. little-finger B key. Great help.
Thanks for all suggestions.
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2010-04-18 14:02
Fishamble -
You could try using the the second and third trill keys together. Wedge the proximal phalange (the joint just above the knuckle) http://en.wikipedia.org/wiki/Hand into the gap between the two keys. You may have to move even further and use the knuckle.
If this gives you too much trouble, cut a bit of a wine cork and cement it to the top of the third trill key to bring them to the same level. Sand or carve the cork to fit the key and put it on with a "dry" rubber cement joint. That is, brush a thin layer of rubber cement on both the cork and the key, let both layers dry for at least 5 minutes and then press the cork on. This acts like super-glue -- you get only one chance to position it correctly. However, unlike super-glue, it can be removed easily.
Also, as you practice the standard fingerings, keep movement to a minimum. Keep your left index finger touching its key and also the G# touch and pretend that you're trying to conceal the movement from the audience. Keep the E/B lever down all the time, and as soon as you move off the F#, get the rest of your right hand down.
Also, practice the B-A# descending interval, using the smallest possible movement. You can even keep the A key open, which, strangely, doesn't affect the B. When you get that smooth, simply reverse the motion, B-A#-B.
Then, at full tempo, play up to the note before the difficult change and hold it for a beat. That is, E-F#-G#-A#, hold the A# while picturing the next change, and then go on to A#-B. Hold B for a beat and then go down to A# and complete the passage. If necessary, raise the fingers that will go down to move from A# to B and then snap them down. Then, while you're holding the B. press down on the fingers that you will raise to go back down to A#.
This practice pattern is something I got from a wonderful article on Georges Gillet's teaching method http://www.joearmstrong.info/GILLET21rtf.htm.
Good luck.
Ken Shaw
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
