During the 20th century the range of the

THE DUBLE REED 81 Develping the Altissim Range f the be1 Christpher Redgate xfrd, England During the 20th century the range f the be has been creeping upwards. In the 1930s A62 was first used3 4 while in the 1960s the ccasinal B5 culd be fund, and in the early 1970s C7 was smetimes used.6 By the early 1980s a few cmpsers had written up t D77 and pitches between A6 and C7 were emplyed mre frequently. The range frm G6 upwards can usefully be referred t as the altissim range. Because f the changes which have ccurred in the last 50 years, a recnsideratin f what is reprted as the range f the instrument, fr example in rchestratin bks, is required. When writing fr prfessinal perfrmers I suggest the fllwing revisin: Fr use in rchestral music Bt>6 shuld be the tp pitch and fr slists C7. These are f curse the ideal and shuld be tempered with advice cncerning their use.8 In the early days high pitch use tended t be either individual pitches used in islatin r in a situatin where there was time t prepare r t mve t/frm them chrmatically.9 Mre recently, the demands have increased and many f these pitches have been written in technically cmplex passages.10 The techniques required in rder t execute these pitches fall int tw categries: first, using standard blwing techniques, (which are smetimes enhanced)" and secnd, the use f teeth n the reed. Many lists f fingerings fr the upper range are nt specific cncerning the technique r, where ne technique takes ver frm the ther.12 This can cause prblems, as many writers suggest that the use f teeth n the reed pushes the pitch up by as much as a semitne." Technical prblems als exist in that the use f teeth n the reed invlves a slight gap in sund prductin. This makes a real legat impssible and slws dwn the executin f sme passages that require mvement frm ne t the ther. In additin, the sund quality f these pitches varies significantly, depending upn which methd f prductin is used. Writers als vary in their understanding f what is pssible in terms f dynamic range.14 Frm my wn experience f perfrming a cnsiderable bdy f music that emplys the altissim range "Fingering psitins in this register nly set up! 208 i have becme cnvinced that, thugh a challenge, it is wrth the effrt and that the extended range adds cnsiderably t the instrument's ptential clur pallet. My arguments in favur f this assertin are f curse the excellent wrks that already emply this range.15 Develping and using the altissim range shuld nt, hwever, be the preserve nly f the avant-garde. Any prfessinal perfrmer and many advanced students (university, music cllege etc.) shuld be able t play in this range if the fingerings are prperly develped, the techniques are understd and the psychlgy is right. There are surprisingly many alternative fingerings available fr almst all f the altissim range pitches;16 many f which are minr mdificatins f similar fingerings.17 In sme cases, when cmparing the fingering lists, the same fingerings can be fund n different pitch lists, which is nt surprising given the use f teeth n the reed by sme perfrmers and its ptential t raise the pitch by a semitne. Many bists faced with ne r mre unusually high pitches will be familiar with the time it takes t find fingerings, and the sense f flundering arund until the required fingering is stumbled upn. This was my experience in the early days when fingering charts were nt available fr this range. A central aim in writing this article is t present a methd that will take a great deal f the sense f flundering abut ut f the search fr fingerings alng with sme guidance n the techniques needed fr successful perfrmance in the altissim range. The central themes are: Fingering develpment; Understanding f the techniques required in rder t play in this range successfully; and The place f the reed in develping the range. In additin t the abve I will explre a number f areas f keywrk develpment with which I have been invlved and which are specifically cncerned with range develpment. FINGERING DEVELPMENT the acustic pssibility f prducing the desired

82 DEVELPING THE ALTISSIM RANGE F THE BE nte, but will in n way guarantee it the actual pitch is attained frm a strengthened lip psitin, which must be slightly altered fr each tne." Larry Teal Art jsaxphne While the technique and perfrmance practice f the saxphne may be quite different frm the be, the abve qutatin des raise an imprtant issue that needs t be addressed at the beginning f this sectin: The study f the fingerings must be undertaken alngside the study f the techniques that help perfrmance. Where Larry Teal talks abut 'a strengthened lip psitin' we have a mre cmplex range f issues t address, including the way in which we cause the air t pass thrugh the reed, the pssibility f using teeth n the reed and f using the embuchure strategically. In devising this article I have cmpiled infrmatin and a strategy that can be applied t almst any be." When beginning the search fr high nte fingerings it shuld be remembered that there are very many variables, and that what wrks fr ne bist in this range may well nt wrk fr anther.20 The first level f the search fr fingerings is usually simply finding smething that wrks, and, at its mst basic, the fllwing can be used t d just that. Hwever, there are ther issues that are imprtant. Ideally it is advisable t develp fingerings that are as cmfrtable as pssible,21 safe in perfrmance, that can be used easily with ther high-range fingerings (bth in terms f ease f fingering and that speak in legat) and that can be articulated in islatin. Finding fingerings that wrk well withut the use f teeth n the reed is the final gal.22 A METHD FR BTAINING THE ALTISSIM RANGE PITCHES USING GENERIC FINGERINGS AND FINGERING MDIFICATINS A cmparisn f all f the available fingerings fr each pitch in the altissim range led me t develp a set f generic fingerings and a list f mst likely mdificatins.23 These tw resurces enable perfrmers t explre a wide range f ptins and t develp fingerings that will be practicable n their wn setup. A basic prcess can be used in explring the range: Generic Fingerings24 (details in Appendix Tw) Using the Generic Fingerings as a starting pint, test the fingerings bth with a nrmal embuchure and, at the tp f the range, with the teeth n the reed. Make a nte f the pitches btained and any bvius prblems: t sharp, t flat, nthing speaks in the required range, nly just sunding, etc. Yu may want t try these tests n tw r three reeds fr a mre accurate evaluatin f the fingerings. If yu have nt tried t play in this range befre, take yur time and make several attempts if necessary. Venting The ctave keys are used mre than any ther keys fr venting25 even in this very high range. ccasinally in the fingering lists tw ctave keys are used tgether; either 1 and 3 r 2 and 3.26 This situatin arises at the very tp f the range. Suggested ctave-key use in the fingering charts varies greatly n therwise similar fingerings. In additin t their use as vent keys, the ctave keys in this range can als alter the intnatin. This is particularly the case with the third ctave key. Therefre there can be ccasins where an ctave key can be added simply in rder t lift the pitch a limited amunt. The left-hand index finger is very significant in this register and in additin t the standard ways f using this key (clsed, pen and half hle) I have fund it useful n C7 and C '7 t use a quarter hle (in effect letting ut nly the smallest amunt f air thrugh the hle). The trill keys play an imprtant rle in the altissim range especially fr B6, C7 and abve. They can wrk as a speaker key rather like the 3rd ctave key in the standard upper range. Trill keys can significantly alter the pitch, usually taking it up, when pened. S if yu find that a fingering is nt wrking, is nly just there r is nt in tune, take a careful lk at the trill key use. In sme fingering charts the trill keys are used n Bt>6, but as there are gd fingerings fr Bfc>6 that d nt use the trill keys there is n reasn t cmplicate the fingerings even further.27 Additinal infrmatin abut key use can be fund in Appendix Three. Intnatin Each fingering lives in its wn limited pitch wrld. It is rare that a mdificatin takes it up r dwn far. When seeking t mve a pitch t its crrect place, remember that the teeth n the reed will lift the pitch and s if yu are using teeth this needs t be taken int accunt. Fingering ptins28 If yu find mre than ne fingering that wrks! 209

THE DUBLE REED 83 n yur setup then nte it dwn. Given the cmplex nature f many f the fingerings it is useful t have ptins. This is the case fr ease f executin in cmplex fingering patterns but can als prvide fingerings with different respnses, sme being better at different dynamic ranges r respnse t articulatin. Mst f the Generic Fingerings will prduce a pitch in the right general area and if yu are lucky they may wrk perfectly, but fr mst perfrmers there will be a need t mdify them in sme way.29 Yu may als find that even if they d wrk, they are nt quite in tune r are a bit stiff r unstable. CLUR FINGERINGS In the standard range f the be there are a several alternative fingerings available fr many f the pitches. These fingerings can prvide beautiful clur alternatives, as can be seen in Beri's Sequenza VII. In the upper and altissim range a similar array f clur ptins is pssible and s any ptinal fingering yu find shuld be nted fr ptential use in this cntext. In additin t the variety f clur fingerings available there is als the teeth ptin t cnsider, nt simply as a technique fr high nte prductin, but als as an alternative quality f sund. Teeth ntes tend t be rather thin and smetimes fragile. Many cmpsers wuld much prefer the mre standard quality; hwever, in my experience there are times when the very fragility f the teeth ntes can be the ideal chice fr a cmpser. In the bk The Techniques f be Playing30 there is a specific sectin n teeth ntes starting frm the G6 fingering and ging up t tp C7. S it shuld be pssible t perfrm frm G6 upwards using teeth if that particular sund quality is required. ADDITINS T THE STANDARD FINGER TECHNIQUE The use f the trill keys at the upper end f the altissim range requires a slight rethink f the way in which they are used. The challenge is t depress the required trill key (r keys) while hlding dwn the keys arund them. Fr example the left-hand C# and D trill keys need t be used in cnjunctin with the standard G and A keys. T achieve this, the hand must be turned slightly in rder t depress the required trill key while maintaining a hld n the ther keys. This can seem rather uncmfrtable at first, but sn becmes a part f the technique.31 If the left hand index finger is nt in use ver its usual tuch piece then it can f curse depress the D trill key. ccasinally reference is made t mving the fingers dwn s that the lefthand index finger cvers the secnd key (A key) while the secnd finger depresses the Cf trill key and the third finger cvers the G Key. This can be a useful slutin in sme cases.32 The spatula key emplyed by the left hand index finger (usually used fr an Aif/B trill) is smetimes used at the tp f the range, and the perfrmer needs t becme quite adept at sliding n and ff it. EMBUCHURE AND BREATH TECHNIQUE The technique required fr playing in the altissim range requires careful cnsideratin as there are sme very specific technical changes that wuld be frwned upn in the standard range. At the very tp f the altissim range, the B6 and abve, the need fr change becmes even mre evident. Up t fit6 mst prfessinal perfrmers shuld be able t play with a standard technique nce they have srted ut the best fingerings fr their setup. Hwever, even in the lwer part f the altissim range sme perfrmers may want t emply sme f the technique mdificatins recmmended belw. USING TEETH N THE REED I have already mentined that in this range the teeth are ften emplyed n the reed in rder t btain the highest pitches. Thugh this technique is bviusly less attractive t bists than maintaining a standard embuchure, it is wrth careful study fr a number f reasns: Teeth n the reed may well give yu an instant pitch. If a perfrmer has nt played in this register befre, psychlgically it can be an encuraging way t start. Initially it may be the nly way f btaining the highest pitches In extended passages in the altissim range it can take the strain ff the embuchure. The teeth are placed at the bttm f the scrape33 with the lips clsed arund the reed in rder t stp the air leaking ut. A light pressure is then exerted upn the reed. Biting t hard will f curse clse the reed up, while insufficient pressure will nt prduce the right effect. It is wrth experimenting in rder t find the best place fr the teeth. In the initial stages! 210

84 DEVELPING THE ALTISSIM RANGE F THE BE try several reeds in rder t establish which qualities in the reed encurage the better perfrmance f upper pitches. When learning this technique, I have fund it useful t blw withut articulating with the tngue.34 Using the teeth n the reed in this way effectively shrtens the vibrating length f the reed and thus helps the highest register. Rxburgh describes it thus: "Cnsider that the reed, as generatr f the sund, maintains a vibratry system independent f, as well as adjacent t, the be. Like any vibratry medium it is activated by a mde f attack - in this case, air and embuchure. Played withut the instrument the reed will make a crak at the pitch b' [B5]. If any part f the medium (the cane) is prevented frm respnding by being stifled, the wave frms being prpagated will be shrter, and the resultant sunds higher."35 [Square brackets mine.] Sme f the suggestins in the next sectin may als prve helpful when using teeth (very few techniques n the be wrk in islatin!). ne f the prblems f using teeth n the reed is that it tends t prduce a sund with limited cntrl, and is therefre hard t emply in a musical setting. Using the fllwing suggestins alngside the teeth can help t bring a greater level f cntrl t the sund especially where dynamics are cncerned. STANDARD EMBUCHURE TECHNIQUE In rder t perfrm in the altissim range, and especially when using the standard embuchure, there is a need fr significant breath supprt. This is ften a cntributing factr in gaining the pitches thrughut the altissim range and may be all that is needed, especially fr the first few pitches. ther strategies hwever may be required. Taking the reed further int the muth36 r increasing the pressure f the embuchure,37 and smetimes a cmbinatin f the tw can be helpful thrughut the altissim range. At the upper end f the range a careful fcusing f the breath38 is very imprtant. The best descriptins I have seen fr this are t 'Clse the thrat as if saying "ee" ',39 r 'fcus the air stream as if saying "Hee" '. 4 1'" My wn way f describing this is t cnstrict the aperture at the back f the muth. These technical ptins sn becme natural when playing in this range. Yu may find that ne r ther suggestin is best fr yu, but a cmbinatin f each is prbably ideal. Perfrmers will differ as t hw the tw techniques are used. Sme will pt fr a cmplete 'n teeth' ptin, while thers will use teeth. Many perfrmers will find a happy medium between using teeth and using the standard embuchure. Thse using the secnd ptin will als chse different pints in the range t change frm ne t the ther. In the final analysis it is the musical effect that is f paramunt imprtance, and perfrmers will want t chse the ptins that are mst suited t the music in questin. My persnal preference is t use teeth as little as pssible, but having said that, I d frequently use the teeth especially when passages demand cntinuus playing in this range r where there are very lng ntes (by this I mean lnger than a minute). I als vary t sme extent accrding t the reed I am using, as sme reeds respnd better t ne r ther technique. PRACTISING IN THIS RANGE42 Anyne perfrming music using this range r interested in develping it will almst certainly already have an advanced technique, and therefre playing up t G6 will be quite nrmal.43 By placing the teeth n the reed yu may have fund that all f the pitches up t B6 r C6 have 'ppped ut' relatively easily (if nt, dn't give up!). I suggest the fllwing guidelines fr develping this range: Never practise fr t lng at any ne time in this range - prbably n mre than five t ten minutes at a time. Get used t playing individual pitches s that yu becme accustmed t the sund Try using the teeth fr the highest pitches - at least initially. Extend the practice f the chrmatic scale nte by nte - this helps t integrate the fingerings.44 Wrk regularly in this range s that it ceases t be smething ut f the rdinary. THE PSYCHLGY F PERFRMING AT THE TP There is a psychlgical side t perfrming at the tp f the instrument. I have fr many years nw encuraged my students t be able t play pitches higher than they need in perfrmance.45 S if a perfrmer is playing G6 in cncerts, especially sl r expsed, and the perfrmer can btain the G#6 r even A6 with any regularity in practice, there is a gd chance that the G will nt seem quite s intimidating. Hwever, because we cnsider the altissim range t be ut f reach fr many f us, it carries with it psych-! 211

THE DUBLE R D 85 lgical challenges. This is where using teeth n the reed can be a great help in the early stages f learning t play at the tp, as the pitches can be much easier t attain, especially in islatin. This then can build cnfidence t explre the mre demanding but mre musically successful embuchure prductin. Verdi writing abut the teaching f the Saxphne player Sigurd Rascher4' states that in his bk Tp-Tnes fr the Saxphne he 'places strng emphasis n the develpment f the "inner ear" and "tne imaginatin" (Tp-Tnes), i.e., the ability t mentally "hear" the tne befre its prductin.47 This is a very imprtant part f the psychlgy f perfrmance at the tp f the instrument. Knwing where the pitches are in yur 'inner ear' r imaginatin is a vital step twards actually prducing them. My wn experience in this range resnates very strngly with this apprach. The ability t knw what yu are aiming fr is an essential part f develping the range. REEDS The general cnsensus is that any style f reed can be used when perfrming cntemprary music. There are several very fine perfrmers frm every majr apprach t reed design that d indeed perfrm successfully n their wn style f reeds. Every writer in this area agrees that a light reed is essential fr the perfrmance f cntemprary music, and Cleve adds that "... extreme high ntes are played mre easily with lighter reeds and narrw penings."48 T sme extent this depends upn what cntemprary music is being perfrmed. There can be tw reasns fr using a light reed. First, if the music demands cntemprary techniques such as dyads r ther difficult multiphnics, a great deal f flutter tnguing, etc. Secnd, if the music is technically extremely demanding r very lng, A great deal f cntemprary music f curse fits nne f these categries and therefre makes n extra demands upn the reed r perfrmer. Where the music des fit int these categries and, bviusly, if the perfrmer is having difficulties, a lighter reed shuld be cnsidered. The dwn side f curse is that the perfrmer's sund quality can be adversely affected by a lighter reed. Rxburgh suggests the fllwing: 'Less wd in the reed than usual will certainly prduce a slightly thinner sund, which many players might cnsider t much t ask. There is n cmprmise. Players appraching this part f the repertire fr the first time are well-advised t begin with a very easy reed. Facility and ease f prductin diminish the prblems by half, and the cnditins f the embuchure fr less cnventinal demands will gradually mature t cmpensate fr any thinness initially experienced.'49- w Cleve's suggestin that a 'narrwer pening'51 can be helpful fr the high ntes is quite true. I have certainly benefitted frm the use f a reed with a narrwer pening in this register creating, as it des, a similar acustic envirnment t that f the use f teeth n the reed. There are tw issues raised by this hwever: First, the respnse fr ther techniques can be limited by the narrw reed and, secnd, the dynamic range in this register can be limited. I suggest, hwever, that an pening ideally similar t the perfrmer's usual reed is much mre useful, especially if the teeth are being used, and that the techniques discussed abve can cmpensate fr a mre nrmal pening t the reed. Daniel McAninch suggests the use f a very thin and shrt tip52 which enables respnse while at the same time leaving the heart un-thinned. It culd therefre be a way f getting arund sme f the sund lss issues. Wiring the reed is an issue that requires sme thught. I have perfrmed cntemprary music, including passages with large numbers f altissim range pitches, with and withut wire n the reed and have fund, at different times, bth equally respnsive. A strng case can be made hwever fr nt using wire when perfrming cntemprary music. If teeth are being used, r as suggested abve, a little mre reed is taken int the muth,53 the wire n the reed culd catch n the lip and cut it. This has never actually happened t me, but in thery it culd. Sme plumber's tape, wrapped arund the wire, can help prtect the lip. With regard specifically t the upper range, I have nticed that the wire can have a psitive influence. I have experimented with mving wire up and dwn reeds while wrking in the altissim range. As a generalisatin pushing the wire up twards the tip s that it is firmly gripping the reed (ften at abut the halfway pint n the visible cane) can help in prducing the pitches. It is wrth experimenting with this. Sme reeds respnd much mre in the altissim range than thers. The abve suggestins shuld all be tried. I have yet t find the perfect frmula fr a gd high-range reed that can als d everything else! KEYWRK DEVELPMENT An entirely different and much mre radical apprach t develping the altissim range is t rethink aspects! 212

86 DEVELPING THE ALTISSIM RANGE F THE BE f the design f the keywrk which are specifically cncerned with range perfrmance, and then t redesign keywrk accrdingly. With the maker Hwarth f Lndn, I have been ding just that. The trill keys which, as can be seen frm the lists abve, play a significant rle at the tp f the altissim range, are a case in pint. These keys, while being well placed fr their traditinal rle f trilling are nt easy t use when playing at any speed in the altissim range. Therefre we have re-sited them near the 2nd-ctave key s that they can be played with the side f the hand, taking dwn the 2nd ctave key as well when needed. Actually trilling n them in this psitin is much easier as well. We have als been lking fr ther venting ptins: the equivalent f the 3rd ctave key but fr use higher up the instrument. This aspect f the research is still a wrk in prcess. GING VER THE TP! I was hping t find a pattern r sense f rder in the fingerings that culd pint me t the develpment f fingerings abve C7. I have been unable t find any bvius pattern in my analyses that culd ffer a structured r lgical insight int the develpment f the extended altissim range. That des nt mean that it will nt yield t further research, but simply that this research will be mre arduus. APPENDIX NE: BACKGRUND T THE FINGERING RESEARCH '--*V* * & I amassed and tested every fingering that I culd find frm G6 upwards.54 Each test was perfrmed n three reeds with a nrmal embuchure and als with the teeth. Almst every fingering wrked t sme extent but did nt always prduce the pitch stated.55 Given that nt all fingering charts are specific with regard t the use f teeth, I had t make decisins abut hw t test and classify the fingerings.56 The Techniques f be Playing, the mst cmprehensive wrk available fr fingerings in this register, has a clear line where teeth take ver frm the embuchure: Bt>6 is the last fingering given fr standard embuchure while fingerings fr B6 and C7 are listed nly in the Teeth Ntes sectin.57 Fr many years this was als my wn practice, s I used this as a standard fr testing the pitches. I was therefre able t cllate clear lists f fingerings fr each pitch. These lists then enabled me t cmpare the given fingerings, seek ut the cmmn patterns, and frm these t develp the Generic Fingerings f which there are several fr each pitch.58 When cmparing the cmmn patterns I was pleased t nte that many f the fingerings that have mved dwn a semitne did actually fit the Generic Fingering patterns f the lwer pitch. In ther wrds these fingerings were simply being pushed up a semitne with the teeth and were in fact a fingering fr a semitne lwer. This was particularly the case with Bb6 fingerings, many f which are A6 fingerings being pushed up t Bb6 using the teeth. Sme pitches hwever simply did nt prduce the pitch stated. In additin t testing all these fingerings I als tested each key in use n each fingering in rder t ascertain their functin. Having dne that, I tested each key that was nt in use n the fingering t see hw that wuld affect the fingering. Having been able t develp a set f Generic Fingerings I was eager t see if there it was pssible t develp a list f the mst useful 'Mdificatin' keys. Having a list f Generic Fingerings and lists f Mdificatin keys prvided a strategy fr develping altissim fingerings n any be. The mtivatin fr this area f research was threefld. First, I wanted t find B6 and C7 fingerings that did nt require the teeth n the reed, as I was finding this rather limiting in sme f the virtus passages in the wrks I perfrm, and in additin I wanted t see just hw feasible it is t play withut the 'teeth' limitatin at the tp.59 Secnd, I needed a strategy that wuld enable me t explre a wide range f fingerings as part f the cntinuing develpment f the keywrk f the be. I culd nt be sure that the fingerings 1 use wuld wrk n a redevelped be r, if they did wrk, that they wuld be the mst useful. It was therefre essential t have a strategy in place such that I culd find fingerings that wrk n the mdified instruments. Third, I intend t push the range still higher, s any guiding principles fr develping the range beynd C7 that culd be develped frm the fingerings studied wuld be a great benefit. I am still searching fr these, but I have already fund sme nice 'teeth' ntes beynd C7.! 213

T! THE DUBLE REED 87 APPENDIX TW: GENERIC FINGERINGS AND SUGGESTED MDIFICATINS Fr each f these fingerings the thumb plate shuld be used. They shuld, with the pssible exceptin f the first fit 6 fingering, all wrk n a cnservatire system instrument. The first Bb6 shuld wrk with a small mdificatin making sure that the small 'a' key just belw the A tuch piece is clsed. G6-38 fingerings cllected and analysed Generic 1 lr 3 ^^ Key changes wrth cnsidering: ^^ Half hles n LH 1 r LH 2 are used individually-each raises the pitch. ^ft _0 «The E, F and D keys all lwer the pitch. B and Et> are smetimes added individually and tgether but d nt make a great difference. Generic 2 - The basic frm is a little sharp 1 r 3 ^^ Key changes wrth cnsidering: ^^ Lifting the G key take it up t a pssible Gl. (~) Adding the lw D als raises it cnsiderably. Adding the G$ key lwers the pitch. ^ The C t key is smetimes added, but imprves neither the pitch nr the sund quality. I i1 i 1' 'f Generic 3 - This is very sharp and identical t a G I basic fingering. I have included it because it is the fundatin fr a cnsiderable number f G fingerings. 1 r 3 ^^ ther key changes wrth cnsidering: Adding G# brings it dwn.. Adding E and F tgether brings the pitch dwn. Als adding the GJ* key {_) brings it dwn further. «Experiment with adding the F key and the A key. Cl -U! 214

88 DEVELPING THE ALTISSI/VI RANGE F THE BE Gf 6-27fingeringscllectedLand_analysed Generic 1 1 r 3 (ccasinally a 2 is listed but I fund it less cnvincing than 1 r 3). ^^ Key changes wrth cnsidering: ^^ Half hle n LH 1 (there is ne use f an pen key which raises the pitch). (~) Bb and Eb are ften added (individually r tgether); these additins strengthen the fingerings cnsiderably. It even wrks with n ctave keys smetimes! ^P Adding the Bb key can take the pitch dwn a little. Generic 2 - nte that this is the same basic fingerings as G 3 1 r 3 (ccasinally a 2 is listed but I fund it less cnvincing than 1 r 3). ^_ Key changes wrth cnsidering: ^P A number f fingerings use a Lhl half pen r pen these alteratins raise the pitch. S~\ Experiment with C, Eb, G and B keys fr pitch variatin. A6-36 fingerings cllected and analysed Generic 1 1, 2 r 3 and ccasinally in the lists a dubling f 1/3 r 2/3 - The secnd raises the pitch a little and the 3rd is rather pr. Key changes wrth cnsidering: LH1 half clsed is cmmn but can flatten the pitch. G(T and Eb are the mst cmmnly added keys - GJf raises the pitch. Adding Ft! can lwer the pitch.! 215

THE DUBLE REED 89 Generic 2 1 r 2 the 2nd raises the pitch a little. /"\y changes wrth cnsidering: G, LH1 is ften listed as pen and raises the pitch - ccasinally there is a clsed listed. Bt> and B are the mst cmmn additins. Generic 3 1, 2 and 3 are all used. (~~\y changes wrth cnsidering: LH1 is ften listed as a half hle which flattens the pitch (_) The A key is smetimes clsed which flattens the pitch ^^ Adding the G key takes the pitch up a little ^P Adding the Et> key takes the pitch up a little B \>6-19 fingerings cllected and analysed (many f which in reality A6 fingerings) Generic 1 - a little sharp 1 r 2 - the 1st is slightly flatter. x->. Key changes wrth cnsidering: ^^ LH1 is ccasinally listed as a half hle A. Taking the G# fff l a t t e n st h e pitch Adding the G key flattens the pitch Gt! 216 li/ at',*&, a

90 DEVELPING THE ALTISSIM RANGE f THE BE Generic 2 - a little flat 1 r 2 - the 1st is slightly flatter. (~\y changes wrth cnsidering: LH1 is ccasinally listed as a half hle. (^). Half hling the G can t u n e the fingering. G# B6-20 fingerings cllected and analysed (teeth used thrughut the tests) Generic 1 All three ctave keys are fund in the lists but 2nd is by far the best - the 1st flattens the pitch. f~\y changes wrth cnsidering: «LH1 half hle is ccasinally suggested. ^^ «Experiments with bth the CJt and the D trill keys can mdify the pitch and intnatin and ^^^ smetimes help the pitch t speak. ^P g Taking the G r E keys ff can raise the pitch. Generic 2 - this tends t be flat. 2 f~\y changes wrth cnsidering: LH1 half hle is ccasinally suggested. ^^ Ct trill key can raise it t pitch. D trill sharpens the pitch. ^P. Half hle n the G raises the pitch. Remving the G r E keys can sharpen the pitch.! 217

THE DUBLE REED 91 C7-20 fingerings cllected and analysed Generic 1 - this tends t be flat. All three are listed but 2nd is by far the best. Key changes wrth cnsidering: LH1 half hle is ccasinally suggested. A number f fingerings use the D trill key rather than the C# trill key. D trill sharpens the pitch. Experiment with bth trill keys. u Generic 2 2 e "~ 0 - this is sharp :! : Key changes wrth cnsidering: ;- i LH1 pen and clsed are als fund in the lists. 1 1 T Cf trill key ften added. i: : Sme d nt have the D trill key. it " 1 APPENDIX THREE: MY WN N-TEETH ALTISSIM RANGE FINGERINGS60 B [ G6 l G*6 1 A6 2 Bb6 2 B6 2 C7 2 0 0 0 51 0 ml G. 0,0 0 2 ^ _ <**:3» ilj - - I»*» " Ij III! 218

92 DEVELPING THE ALTISS//M RANGE F THE BE C*7 2 D7 2 and 3 * I* N thumb N thumb " 'ate BIBLIGRAPHY Ely, M. C., Van Deuren A. E., Wind Talk fr Wdwinds: A Practical Guide t Understanding and Teaching Wdwind Instruments, (xfrd: UP, 2009). Gssens, L., and Rxburgh, E., be. (Lndn: Macdnald and Jane's, 1977). Pst N., The Develpment f Cntemprary be Technique PhD Dissertatin (New Yrk: New Yrk University, 1979). Sprenkle, R., Ledet. D., The Art f be Playing Including Prblems and Techniques f be Reedmaking (Evanstn: Summy-Birchard C. 1961). Van Cleve, L., be Unbund: Cntemprary Techniques (Lanham, Maryland: The Scarecrw press, Inc., 2004). Veale, P. C.-S., Mahnkpf, The Techniques f be Playing (Kassel: Barenreiter-Verlag Karl Vtterle GmbH & C., 1994). Verdi, R. C., A Study f Harmnics fr Wdwind Instruments PhD dissertatin (Washingtn: Cathlic University f America, 1991). MUSIC Castiglini, N., Alef (Mainz: Ars Viva Verlag, 1965). I Finnissy, M., Pavasiya (Unpublished: 1979). f Redgate, R., Ausgangspunkte (Paris: Lemine., Rxburgh, E., Eclissi (Lndn: United Music Publishers Ltd, 1976). ; Zimmermann, B., Cncert (Mainz: Schtt Music, n.d). DISCCRAPHY Castiglini, N., Nicl Castiglini Wind Music. Alef: 1992, mar Zbli, CD: Divx, B003H01ZJ. Finnissy, M., be Plus: Beri and Beynd. Pavasiya: 2006, Christpher Redgate, CD be Classics, CC2015. Redgate, R., be Plus: Beri and Beynd. Ausgangspunkte: 2006, Christpher Redgate, be Classics, CC2015. Redgate, R. Greatest Hits f All Time. Quintet: 2009, Christpher Redgate, Kreutzer Quartet, Metier, msv28513. Rxburgh, E., Edwin Rxburgh be Music. Eclissi: 2008, Christpher Redgate, Ensemble Expse, Metier, msv28508. Wlpe, S., Stefan Wlpe. Suite im Hexachrd: 1994, Speculum Musicae, Bridge, B000003GJ1.! 219