 The Clarinet BBoard
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Author: Roxann
Date: 2014-08-28 02:44
For an audition, I have to play a Clarion B to Chalumeau A (one note below the B) 6 times in a row really fast. Are there any trick/alternate fingerings or do I just practice, practice, practice and gradually increase the speed?
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Author: Chris P
Date: 2014-08-28 03:26
Play the B, then nudge open the throat A key and trill with RH finger 1 for the A.
I can't remember who posted this on here but it's one of the best B-A fingerings I've ever used.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Chris P
Date: 2014-08-28 03:28
The way I'd have normally done it was to play the B as throat A but with the top trill key, but that lacks tonal depth.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: tictactux ★2017
Date: 2014-08-28 03:43
"really fast" and "tonal depth" are mutually exclusive anyway, somewhat at least.
I'd go with B + nudge A + trill then, as suggested by Chris. Whether or not to use traditional B at the beginning depends on if it's a long note that ends in a trill. Else I'd just use A + trill.
--
Ben
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Author: Ken Shaw ★2017
Date: 2014-08-28 05:59
Chris's fingering (which I was the first to post) is "inverted." That is, the B is stronger than the A. I think of it as an interesting stunt.
If you start on B, and it's the main note, play the normal fingering for B (with the right little finger down for B), keep your right hand down and rock your left hand left hand between the two fingerings.
If you start on A, and it's the main note, you can reverse this, but I think it's better to play the normal A fingering and go to the B using the two top trill keys. Using just the top trill key ay work, but it tends to be flat. It's better for the interval to be too wide than too narrow. By the way, Mark Nuccio says he always uses this in the Midsummer Night's Dream Scherzo.
Ken Shaw
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Author: sfalexi
Date: 2014-08-29 21:23
Ken Shaw wrote:
> If you start on A, and it's the main note, you can reverse
> this, but I think it's better to play the normal A fingering
> and go to the B using the two top trill keys. Using just the
> top trill key ay work, but it tends to be flat. It's better for
> the interval to be too wide than too narrow. By the way, Mark
> Nuccio says he always uses this in the Midsummer Night's Dream
> Scherzo.
>
> Ken Shaw
I think the benefit to using the tip two trill keys is makes the B sound tonally like a throat tone so you're not adding a different character to the sound as you go between them. It'd be akin to a singer choosing when to use a falsetto or head/chest voice.
There's a range of pitches where the clarion and throat tones crossover and you just have to use a judgement based on character of the piece, where it's coming from and leading to, the speed of the piece, etc. on whether to use "true' fingerings or use some side trill key trickery to get what sounds like a B or C.
Alexi
US Army Japan Band
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Author: Roxann
Date: 2014-08-30 16:00
Thanks, everybody. I've experimented with your suggestions and have found that what seems to work best for me in this particular instance is playing the B with the right pinky held down then keeping my right hand down while the left is playing the A. If I raise my right hand to play the side key, I can't get all my fingers back in place in time to stay in rhythm with the following measures. Your help is much appreciated...as always:)
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