Woodwinds: Clarinet

Staying connected to the clarinet

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Photo, KSMF Webmaster

In general, I’m not that concerned about keeping fingers close to instrument keys. A lot of woodwind players and teachers seem to believe that “close” fingers mean more speed, which I haven’t found necessarily to be the case. To me, a much larger factor is tension: if my fingers are tense (because, for example, I’m trying really hard to keep them close to the keys), they move more slowly.

But when I work with beginning clarinetists (whether first-time instrumentalists or doublers), many of them seem to have a great deal of trouble with squeaks and with notes responding sluggishly—problems that I think in most cases can be traced to fingers not completely covering toneholes, or not covering them in a synchronized way. And one of the major reasons that this happens is that the fingers are too detached from from the keys. It’s not a question of distance, per se,  but one of awareness.

One reason this is such an issue for clarinetists in particular is that so many fingers have multiple jobs. The left thumb operates a tonehole/ring and a key, which must sometimes be pressed individually and sometimes together. The left index finger has a tonehole/ring and two keys. The right index finger has a tonehole/ring and four “side” keys. And the pinky fingers have responsibilities exceeded only by the bassoonist’s thumbs. Throw in a couple of sliver keys, and you’ve got a lot of fingers constantly in transit from one key to another.

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Play reeds that fit

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During a rare visit to a music store this week, I overheard a very young clarinetist asking a salesperson to help him locate some unusually stiff reeds. The salesperson was as surprised as was I that the young man was interested in such an extreme equipment choice—but apparently for different reasons. “You must be very talented … Read more

Rediscovering the clarinet’s left-hand sliver key

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I think for many doublers the clarinet’s left-hand “sliver” key seems useless or problematic. For example, the sliver key is easy to press by mistake when intending to cover the middle and/or ring finger holes. And even when reaching for the sliver on purpose, it’s easy to accidentally cover part of the ring finger hole, producing an E-flat or B-flat that is flat and stuffy.

The left-hand sliver also lacks any real analogue on any of the other common woodwinds, so its use is a technique that doesn’t transfer easily from another instrument. Flutes, saxophones, and standard bassoons don’t have any key in that spot. The oboe has a trill key there, but its usage isn’t similar. Among the standard band/orchestral woodwinds, only the contrabassoon has a key positioned here that is used in a similar way to the clarinet family. Especially for saxophonists, the right-side fingering is much more familiar.

The Woodwind Fingering Guide (still the best fingering source on the web) lists three E-flat/B-flat fingerings in its standard clarinet fingering chart, with only the right-side-key fingering marked as “basic.” The left-hand-sliver fingering is described as a “Chromatic and trill fingering,” to “use in combination with D4 [D below the staff] and A5 [A above the staff].” (The “one and one” fingering using both index fingers is also listed, though it might perhaps be better relegated to the “alternate” fingering chart.)

Occasionally I’ve run across the attitude that the sliver key could perhaps be removed or wedged shut to prevent accidental venting. I think this would be a waste, and all clarinetists of an intermediate level or higher should get used to using this key as an equal partner with the right hand key—not merely as an alternative for rare occasions.

Here are a couple of examples from well-known solo repertoire where the left-hand sliver makes sense:

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Evaluating reeds

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Photo, chelseagirl There are three things to consider when evaluating a reed. I consider these same factors for either single or double reeds, and prioritize them in this order. Response. The overriding concern for me is that the reed responds exactly as I expect it to. A reed that is stiff, sluggish, stuffy, or otherwise … Read more

Required recordings, spring 2012

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It’s a new semester, so it’s time again for required recordings. I think I’ve got an exceptional group of recordings picked out for my students (and myself) this semester: lots of beautiful, virtuosic playing, and  great repertoire.

Enjoy:

Joseph Robinson: Principal Oboe, New York Philharmonic

Find it on: Amazon | iTunes

Repertoire: Saint-Saëns Sonata, Piston Suite, Poulenc Trio, Nielsen Two Fantasy Pieces, Dring Trio, Shickele Gardens, Still Incantation and Dance, Martin Petite Complainte

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Do it yourself: replace a tenon cork

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One of the most common woodwind repair needs is replacement of a clarinet or oboe tenon cork (or bassoon, if you have cork joints, or wooden piccolo, or recorder…). It’s an easy job, and doesn’t require much more than a piece of cork and a few minutes. Let’s do it.

A few weeks ago, I replaced the bell tenon cork on this clarinet with a composite cork product, made from compressed cork bits. It’s cheaper than traditional solid cork, so I thought I would give it a try to see how well it compares. But the cork I used was too thin, and the bell was too loose. I’m going to try the experiment again with a thicker composite cork, but you can do this exactly the same way whether you’re using solid or composite. You can get either kind from MusicMedic.com.

First peel off the old cork.

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New sound clips: Faculty woodwinds recital, Aug. 30, 2011

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I’m pleased to share some audio from my Delta State University faculty recital a few weeks ago.The big event of the evening was the premiere of Sy Brandon’s Divertissement for multiple woodwinds and piano, which seemed to be well received. It’s gratifying to be involved in the creation of a piece that fills a gap in the small multiple woodwinds repertoire—something than can be played by a woodwind doubler, without having to bring in a concert band, a truckload of electronics, or obscure instruments. The audience seemed to enjoy the derring-do of the final movement, which involves six instruments.

Brandon: Divertissement (flute, alto saxophone, bassoon, clarinet, oboe, piccolo)

I’ve studied the Bonneau Caprice en forme de valse in the past and have had students perform it, but this was the first time I played it in public myself. Since I’m trying to balance a half-dozen or more instruments, I tend to shy away from pieces that seem too technical, and, in that respect, this was the riskiest piece on the program. I was mostly pleased with how it turned out.

Bonneau: Caprice en forme de valse (alto saxophone)

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Required recordings, fall 2011

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The fall semester has begun, so it’s time for my students to buy their required recordings for the semester. This semester I wanted to address a few glaring gaps in the library my students have built so far:

  • The oboists don’t have anything Baroque yet.
  • The clarinetists don’t have anything by Weber yet.
  • The bassoonists don’t have the Mozart concerto yet.
  • The saxophonists don’t have the Glazunov concerto yet.

I think I found some great recordings to fill those voids. As a diversity bonus, three of the four are talented women, and one of those is a native Israeli.

Here are the selections:

Ray Still: A Chicago Legend: Baroque Oboe Sonatas

Find it on: Amazon | iTunes

Repertoire: Bach Sonata in G minor, Handel Sonatas nos. 1 and 2, Telemann Partitas 2, 5, and 6, Vivaldi Sonata no. 6

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Faculty woodwinds recital, Aug. 30, 2011

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Bret Pimentel, woodwinds
Kumiko Shimizu, piano

Faculty Recital
Delta State University Department of Music
Recital Hall, Bologna Performing Arts Center
Tuesday, August 30, 2011
7:30 PM

Program

Divertissement for multiple woodwinds and piano
Sy Brandon (b. 1945)
World premiere

  1. Intrada
  2. Nocturne
  3. Valse
  4. Marche
  5. Romanza
  6. Galop

Caprice en forme de valse for alto saxophone
Paul Bonneau (1918 – 1995)

Sonata for oboe and piano
Francis Poulenc (1899 – 1963)

  1. Elégie
  2. Scherzo
  3. Déploration

Sonata for clarinet and piano
Francis Poulenc

  1. Allegro tristamente
  2. Romanza
  3. Allegro con fuoco

Ode to a Toad
Ray Pizzi (b. 1943)

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