 The Clarinet BBoard
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Author: Mike_T_Snyder
Date: 2014-09-07 09:48
On the first page of the Nielsen Concerto, when the repeated high B to high D is played, are there any alternate fingerings to help play it more cleanly? Should I avoid the support key? When I play this, it sounds something like bagpipes full of dying cats...
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Author: donald
Date: 2014-09-07 10:05
play the high D as an open note- finger the B as usual, then to slur to the D just take everything off. The D is a bit flat but the whole passage gains considerable fluency.
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Author: Philip Caron
Date: 2014-09-07 16:50
While I won't claim to play this at a performance level, I believe that if you can make the interval sound good going slow, you can eventually make it sound good going fast. This and similar intervals have presented a several problems. First is making sure both notes have a good sound that's as similar as possible. Second is accurate finger timing in the transition.
Third problem is the closing of the LH3 hole. For some reason, on both my Buffet R13s, closing that hole when slurring to altissimo (not just D, also C#, E, etc) tends to make a popping sound, an unsmoothness. Since other holes don't have this problem, I suspect it has to do with there not being a raised rim around the LH3 hole. If I can sort of gently close the hole, as opposed to "slamming" the finger into seated closure, while still preserving timing, then the popping is avoided.
I dislike the sound of the open D alternate fingering, so it seems worth it to spend time doing this interval (and similar ones) very slowly, until it's reliably smooth, and then gradually speeding up.
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Author: Paul Aviles
Date: 2014-09-07 19:11
John Yeh use to say the Nielsen is ALL trick fingerings.
.............Paul Aviles
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Author: William
Date: 2014-09-07 19:49
Anyone who has played the second strain of the original "On Wisconsin" has used these fingerings for the first few notes of the solo clarinet part:
C# X00/000
D TR 000/000
The sixteenth note passage goes so fast that the slight intonation problems are unnoticeable--and besides, it's usually played from the 50 yrd line while marching 8 to 5 at 120. Try doing THAT using the traditional fingerings.
FWIW, John Yeh also told me that he used the flutter style double tonging technique on his Grammy winning recording of the Neilson. Which just proves, if you want to play with the best, you've got to know all the technical shortcuts that help you keep the beat.
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Author: Ed Palanker
Date: 2014-09-08 02:32
Totally agree with Donald, many many players use that open D, which is actually overblowing your throat tone G. When I've performed it and teach it I do that and suggest "voicing" it as high as you can for pitch. Believe me, unless that opened D is grossly flat, which it usually is not on an A clarinet, no one can tell the difference it goes so fast and the B is the home note so the ear concentrates on that note. It's the same thing as when you trill a note that can't possibly be done with a "normal" fingering. If it really sounds flat to you try keeping the side Bb-Eb key down for both the B and the D. Try it, you'll like it.
ESP eddiesclarinet.com
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Author: Dan Oberlin ★2017
Date: 2014-09-09 00:12
Making use of a less commonly accessed series of harmonics:
B TR xox xxx
D TR xox xoo
Also useful in William Smith Five pieces ... (mvt. 4)
A related B-C# trill uses
C# TR xox xxo
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Author: EBC
Date: 2014-09-09 00:39
My solution was to add the RH G#/D# key for the first two eights (B-D and C-D) of the passage. It raises the pitch of the B and C slightly (1-4 cents), but that of the "open" D considerably (5-10 cents). Most importantly it widens the minor third and major second. I used the "regular" D fingering (23 l 1 G#/D#) for the A-D leap.
Eric
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