Author: Tony Pay ★2017
Date: 2021-02-04 17:02
It's worthwhile trying this speaker key fingering for G# on a modern instrument too, I'd say. I find that sp o | o x x | x x x | F/C key is optimal on one of my modern (1889!) Buffet Bbs. (If you try, notice how important the F/C key addition is.) The 'address' to the instrument (embouchure, tongue position, strength of airflow) is also crucial.
The clarion G# an octave above occurs at speed in the last movement of Tchaikovsky piano concerto #1 in a finger-twister that can be troublesome if you don't have a LH D# key. It goes, 'di | daa di diddle-di | dee' in 6/8 time, the notes being C# | B__A G#C#D# | E.
The way round it is to play the G# as sp x | x x o | x x o | and PRACTISE making acceptable the transition between the bright-tending A and the duller G# using this fingering. And notice, the LH C# key that you're about to use helps the quality of the note considerably if you add it on the G# too....
When I talked about this fingering about 10 years ago here, people said no, it's much too weak a note. The word to notice here is the IT – the clarinet is not an isolated object but one part of a system in which YOU are a very important part.
There IS no IT.
Tony
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The Clarinet BBoard
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