Author: SecondTry
Date: 2023-07-15 01:37
I'll call the second break the one between B5 ![[B5]](http://test.woodwind.org/clarinet/BBoard/smileys/b5.gif) and C6 ![[C6]](http://test.woodwind.org/clarinet/BBoard/smileys/c6.gif) .
Maybe there's another name for it, but that said:
as many of us know, this gap is quickly bridged in the Mozart Clarinet Concerto at measure 199 when we move quickly between Bb5 ![[Bb5]](http://test.woodwind.org/clarinet/BBoard/smileys/bb5.gif) and D6 ![[D6]](http://test.woodwind.org/clarinet/BBoard/smileys/d6.gif) .
This I can handle. But in the otherwise beautiful Mangani Sonata, at measure 137, the player is taxed with the larger B5 to E6 ![[E6]](http://test.woodwind.org/clarinet/BBoard/smileys/e6.gif) gap, in addition to, at measure 141, an A5 ![[A5]](http://test.woodwind.org/clarinet/BBoard/smileys/a5.gif) to D6 gap--just a tad more than the Mozart requires of us.
These gaps occur around this point in the piece https://youtu.be/LtI14mIhP40?t=145
Does anyone have advise for mastering these gaps? It's a wonderful piece; do check it out if unfamiliar. I think everything Mangani publishes for clarinet is quite melodic. A clarinet player himself, he definitely, IMHO, knows how to write for the instrument.
TIA
Post Edited (2023-07-15 01:39)
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The Clarinet BBoard
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