 The Clarinet BBoard
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Author: Brendan Martin
Date: 2009-10-30 12:57
Hi and thanks for reading.
Hopefully its quite a simple question.
Going from Standard Altissimo C# fingering (t/r oxx xxo) to the "standard" D# which to me is (t/r oxx xoIo) with the I being the hook key, (also with right pinky down on tuning key). I find going between them when doing scales and some study books I use quite difficult. The alternative is to use (t/r oxx oxo) but even with the tuning key pressed it seems quite weak and flat.
If i just need to keep practicing what im doing thats fine, but i just worried i might be missing something?
Thanks for the help
Brendan
Post Edited (2009-10-30 13:00)
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Author: Chris P
Date: 2009-10-30 13:48
It's a case of having to get used to using the full fingering for Eb (oxx|xo/o Ab/Eb) as that's the best tuned fingering for this note.
Instruments with an Acton vent fitted (B&H 1010 and reform Boehms) can use the oxx|oxoAb/Eb fingering as the Acton vent compensates for RH2 being closed. On standard clarinets without the Acton vent, the closure of RH2 (oxx|oxo) will affect the high Eb by adding resistance due to a tonehole being closed below the one the Eb issues from, whereas using the full fingering (oxx|xo/o) means there isn't a tonehole closed below the one the note issues from (which is the cross B/F# tonehole at the side) so it's fully vented.
I've never tried it (or don't remember doing so), but see what the high Eb is like if you lower the RH ring keys to close the pad but without closing any tonehole chimneys with your fingers.
I wonder if that's a better note, and if it is, wonder if any makers have ever made a Rockstro/Brossa-style F# key (as on Rudall-Carte flutes - a touchpiece soldered to the key barrel shaped like the LH1 spatula seen on oboes d'amore/cors anglais) that closes the ring key pad on its own.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Ed Palanker
Date: 2009-10-30 14:00
You're not missing anything, that's just the way it is. You have to use the "fork" fingering, what you call the hook, when intonation matters and the flatter fingering when playing a very fast passage that makes it impossible to play using the fork fingering so you have to resort to the flat fingering. By the way, using the 3rd finger in the RH instead of the 2nd is a well in tune alternative. It is also very good for large skips. Check out my fingering chart on my website. ESP
http://eddiesclarinet.com
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Author: Bob Phillips
Date: 2009-10-30 15:08
Janet Jonquil told me that she'll go through whatever contortion is necessary to get to the TROOX|XO/OEb fingering for the high D#. The leap to the high Eb in the Brahms sonata is more easily made using the TROOX|OOXEb fingering, but she still uses the standard "forked" fingering even there.
I'm currently working on the Kroepsch B Major and G# Minor exercises, and it is necessary to use the middle finger D# in conjunction with the 1-2 fingering of the clarion A# to get through those gestures with any speed.
It is also necessary on my Buffet to use the "hook" F# key to keep the alti F# in tune. Like using the side Eb/Bb trill key, I'm getting better at that.
Bob Phillips
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Author: Ken Shaw ★2017
Date: 2009-10-30 15:13
It's possible to slide to the good fingering from almost anywhere. I've worked for years on doing it in the bar 9 of the Brahms Sonata # 1, though I probably would use Ed's 3rd-finger solution in performance, since it's well in tune on my R-13.
Ken Shaw
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Author: Ed Palanker
Date: 2009-10-30 16:24
I agree with Janet J. to use the "fork or hook" fingering whenever possible and I actually use that when I do the Brahms Sonata because I like the quality better on my instrument. I also use it to raise the high F# too as well as the side G when going quickly from the F# to the G. But there are some passages that it's just more effective to use an alternate fingering which is why everyone should be familiar with them, just in case. ESP http://eddiesclarinet.com
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Author: am0032
Date: 2009-10-30 16:51
A great option for C# to D# trills or fast passages between those 2 notes is to use the standard C# fingering and press the throat A key. It is much more in tune than using the middle finger on the right hand for the D#/Eb.
Adam
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Author: Paul Aviles
Date: 2009-10-30 17:18
OR
Try C# like the Cnat only adding the two last side keys, then go to D# by taking the thumb off and adding the "G#" key.
..............Paul Aviles
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Author: clarnibass
Date: 2009-10-30 18:11
I didn't read all the rest of the posts sorry if it is repeating but another good fingering is r/t oxx oox with the pinky Ab/Eb. It's also sometimes possible to improve so you can use the regular fingerings.
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Author: mrn
Date: 2009-10-30 18:36
Some other altissimo fingerings that I use a lot are open-thumb fingerings (fingerings where you press only the register key with your thumb and leave the thumb hole open). They sound very nice (usually "darker" than the standard fingerings) and are especially useful for slurring to/from the clarion register (so you get a true legato without a break in the sound).
You also might not want to use these for rapid passages, because taking your thumb off its hole is a little tricky to do quickly (although with practice you can get faster). Nonetheless, they're very, very useful when used in the right context:
C# R x x x | x x x Ab/Eb
D R x x x | x o x Ab/Eb
D# R x x x | o x o Ab/Eb (unlike the closed-thumb version of this fingering, this one actually sounds good)
or R x x x | o o x Ab/Eb
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