 The Clarinet BBoard
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Author: AshleyMatthews
Date: 2015-12-17 21:12
My university auditions are coming up in February but I still can't seem to get over this trill I have. In one bar of the Concertino, there is a third octave G# to A (above the staff). I have tried the "normal fingering" with G# and then going up to A. I have tried just lifting my ring finger to do the trill and I have tried to use 12 / 12 and then lift the bottom two but nothing seems to sound crisp and clear with this trill.
Any help would be much appreciated! (:
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Author: AAAClarinet
Date: 2015-12-17 21:16
Some pros have ommited the trill. If you must do it, practice it slowly and evenly getting your two fingers to move precisely together. Good luck.
AAAClarinet
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Author: ClarinetRobt
Date: 2015-12-17 21:40
Sadly I don't know of any trick fingerings to help. Use standard fingers and practice slowly to work out any flips. Do a Romantic style trill (very appropriate) to help expedite the technique.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: Philip Caron
Date: 2015-12-17 22:35
Normal fingering. For me the problem hasn't been so much the G#-A interval in the body of the trill as the F# in the lead-out. Or more accurately, the sequence A-G#-F#-G#-A at the end of the trill. Practice that, loop it, use different rhythms, different speeds. Practice an F#-G# trill using normal fingerings. Get the timing - it's doable.
And be conscious of the speed of the trill. It's not just "fast", it's a particular speed, and that little turn at the end is the same speed. Think of it written out. It needs to fit into the next downbeat.
Listen to a recording of someone doing it smoothly and expressively, then do that. (Only partly facetious: this technique works sometimes.)
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Author: rmk54
Date: 2015-12-17 23:15
Some pros have omited the trill
------------------------------------------
Like who?? (whom??)
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Author: cigleris
Date: 2015-12-18 00:32
Colin Lawson for one, in his recording with The Hanover Band. The reason is because in Weber's manuscript the trill is only on the previous note.
It's all about the transition out with the F#, G#
Peter Cigleris
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Author: ClarinetRobt
Date: 2015-12-18 02:48
I've heard it too many times without the trill. I guess, for me, it's a continuity issue with the first f# trill. And who doesn't like adding a little flare to Weber?
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: Ken Shaw ★2017
Date: 2015-12-18 02:52
Squeeze your left ring and little fingers together gently and move them as a unit. Relax the squeeze one trill-beat before the turn at the end so you can play the A-G#-F#-G#-A smoothly.
Remember that this comes in a slow section, so the trills should be relaxed and liquid, not like a door-bell.
Ken Shaw
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Author: locke9342
Date: 2015-12-18 02:56
I don't really have any advice, but I'm playing this solo and I don't see where that trill is. What measure is this in?
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Author: kdk
Date: 2015-12-18 07:11
In the introduction - 18th bar counting from the beginning of the solo.- trilled half-note G# resolving to quarter note A.
Karl
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Author: Lelia Loban ★2017
Date: 2015-12-18 20:05
Bracing the fingers together as in the "Vulcan salute" was what finally worked for me. If the university audition committee specifies which edition of the score to use, and if the trill is in that edition, then leaving it out (on grounds that some pros leave it out) would be a serious mistake.
I think that even if you have the option of choosing whichever edition you please, it would be a good idea to learn that trill and play it, even if it isn't perfect. If you don't play it, then the judges may interpret its absence as evidence that you couldn't learn it -- and they might assume that means you play it a lot worse than you really do!
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: AshleyMatthews
Date: 2016-01-08 06:37
Thank you everyone for your replies on my post! This post has helped me quite a bit. It definitely let my mind rest at ease knowing that I am not the only one with this issue! This trill has gotten much easier once I really focused on the one section for two days. Now if I don't think about the trill, it comes much easier! It sounds much cleaner now that I am forcing my pinky and ring finger together and blowing faster air as I trill.
Who knew some specific practice and good air support (what I have been working on since I've started playing- this is my eighth year playing Clarinet) could fix all your problems?! (:
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Author: Napat T.
Date: 2016-01-08 13:21
For me , I practice by playing G# to A with medium speed
[ Practice until you play it smoothly without G sound between the
G# to A ] . After that , repeat the previous sentence and changing
To A to G# . Finally , play the trill G# A G#A... .
#Hope this help you
#Sorry for bad grammar :-|
p1766147572@gmail.com
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Author: donald
Date: 2016-01-08 15:09
I do the trill using the standard fingerings, and practise to get it good enough. That's all.
When I was younger I DID have another solution....
START the G# to A trill using the normal fingering, then after 4 notes switch to using TR XX0 XX0 for the G sharp (much easier to trill), then finish by playing F#/G#/A with the standard fingering.
On my Yamaha 82-2 "Custom" the TR XX0 XX0 worked really well for the G sharp
but not so well on my current instrument.
dn
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Author: WhitePlainsDave
Date: 2016-01-09 00:53
I think the topic has been well covered here except maybe for this---although Mr. Schwebel may have been trying to say this in his reference to a "romantic trill."
When faced with a difficult trill, better to slow it down and play it well than to speed it up and produced something less than acceptable.
So slow it and the previous measure's trill down for consistency. Perhaps start the trill really slow and speed it up to a point that doesn't exceed your comfort level.
I am reminded of this, one of my favorite recordings of the Mozart, Jon Manasse at the "helm."
Jon could have taken this trill faster---must faster---heck I could have taken this trill faster if only a tad. Instead, Jon measures his pace to produce beautiful artistry--as technique is a means to the higher goal of artistry, not the other way around.
https://youtu.be/S9nTKA3meRc?t=2m19s
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