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Rose etude no.6

Author: emil.kg
Date: 2023-06-13 10:47
Attachment: 3A06787F-8F9B-4DAA-9E44-A3C7A537FB09.jpeg (128k)

Measure 25 of the 6th Rose Etude is troubling me. The switch between the A sharp to the F sharp is usually what's causing the problems. Are there any tips or ways to make this a little easier or to work on it more efficiently?

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Re: Rose etude no.6

Author: Paul Aviles
Date: 2023-06-13 16:18

If you play the A# with the register key and A key (and fingers 2 and 3 for venting) it's shooting fish in a barrel.

[actually I'd add the three fingers of the right hand too for the Bb (A#) for even more resonance]

.................Paul Aviles

Post Edited (2023-06-13 17:38)

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Re: Rose etude no.6

Author: SecondTry
Date: 2023-06-13 19:25

Emil:

Has anyone (I don't know your level of play, so apologies if this is either confusing or obvious) ever suggested--which I am now, that you take your right pointer finger and grab a little-well--skin grease (I'm totally serious) from the back of your right ear and apply it the right pinky D#/G# key to facilitate slides down to the F#/C# key below in situations where the sequence of notes of a phrase mandate such slides in order to make available the left pinky?

Ok--somewhat off topic but to point, let's suppose you had to very quickly play [D#5]

then

then

then

again and you didn't have a left pinky D#/G3 key. You'd need to effect this slide from the right pinky D#/G# key down to the right pinky C#/F# key, which is made loads easier with some grease. We'll assume the notes are taken to fast to swap which pinky plays the [C#5]

in mid play of either note.

Well, that said, consider applying some of that same grease to the throat "A" lever to facilitate the motion of the left pointer as it slides off the throat "A key on to the first top hole. The motion is a slide of the left pointer finger in combination with the slightest twist of the left pointer finger forward.

To become more proficient in this I suggest you find yourself on page 8 of the Bearmann III Etude book, doing the Broken Chord Passages of this section in the otherwise "bear of a key" of F# major (or Gb major if you prefer). Turn the metronome to a slow speed where you can comfortable the A#/F# (up and down) movement.

It need not be the Bearmann book. Any broken chord exercise in F#/Gb major is fine.

Slowly increase the metronome by no more than two beats per minute at a time, but not before you can play the exercise at least twice without both errors and mental stress.

When you feel up to it, find yourself at measure 21 of the Vivace movement of Brahms 1st Clarinet Sonata. You'll get a chance to showcase your proficiency on this move there!

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Re: Rose etude no.6

Author: kdk ★2017
Date: 2023-06-14 03:22

For me, trying to do anything other than the standard fingerings for A# and F# causes more trouble than it's worth. It isn't a slow, lyrical passage. You have to get from A# to F# quickly without compromising your ability to get to C#. My best suggestion in this specific context is just to practice the F#/Gb major arpeggio slowly, then faster to get comfortable with it.

It's also possible, if you have access to a skilled repair tech, that some change to the lateral position or height of the A#/Bb key might help.

Karl

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Re: Rose etude no.6

Author: nellsonic
Date: 2023-06-14 10:23
Attachment: Slow-Fast_Mix.pdf (41k)

To me this passage is a study in keeping your fingers relaxed and close to the keys, particulary the pinkie on the low C# key in those measures in which it appears.

I often have students practice this section of the etude alternating by beat between half speed and full speed. Actually it's a process that's a little more involved and in-depth than that, but I'll try to attach a PDF I made that illustrates it if I can.

Try working through all the steps, focusing on keeping the fingers as relaxed and efficient when fast as when slow.

Anders

Post Edited (2023-06-14 13:06)

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Re: Rose etude no.6

Author: concertmaster3
Date: 2023-06-15 07:08

Understanding where your contact points are in your left hand are extremely important. With your first finger on its tonehole/key, you should be able to feel the A-key on the outside of your first finger. This means that to move to the A-key, you are only pivoting your finger, rather than lifting it. It also means that your first finger doesn't have to move away from where it is needed for F-sharp.

When I play the A-key, the first finger is basically in contact with the ring of the first finger.

Ron Ford
Woodwind Specialist
Performer/Teacher/Arranger
http://www.RonFordMusic.com

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Re: Rose etude no.6

Author: Paul Aviles
Date: 2023-06-15 19:55

Ok, I take issue with the word PIVOT. Pivot in Webster's is defined: a shaft or pin on which something turns. You cannot TURN your finger by itself. This means you are telling someone to turn their wrist. This inherently causes your OTHER fingers to angle away from the tone holes and keys with which they are associated causing errors just coming down in the right spot.

What you should do with your left index finger is move it LATERALLY up to the "A key" and back down again LATERALLY.

.............Paul Aviles

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Re: Rose etude no.6

Author: Philip Caron
Date: 2023-06-15 20:42

Hi emil.kg. The motion of the l. index finger in that interval is a very common one, involved in many other intervals. It's worth the time to focus on making it familiar, smooth, controlled, and repeatable.

Whatever your terminology, and there doesn't seem to be a clear English word for it, the motion, like most fingering motions, will typically avoid moving your hands or wrists much at all. - Though I've seen some excellent clarinetists play with their hands moving around with a freedom that I can't imagine having.

I like Ron's mention of finger touch points. My l index does lightly contact the A key when in "home" position. There are other "home" position contact points on both hands.

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