Thanks! I've listened to the slowed down clip 7 or 8 times with close attention, Dan/Bang, and I hear A-tapG-A-B-c(?naturallish)-d with a kind of blip between the B and the c-whatever that is precisely the kind of register-break/finger slap pop I've been on about. The B seems quite clearly present to me, within the time structure of the triplet run, and I do not hear any break within or reiteration of the c, just a sound that separates the B and c.
I've had a go at doing some
sound samples of my own. They're all on one clip. Firstly I had a few shots at the bit from the end of the J.S. Bach Badinerie I mentioned up-thread to try to show what I mean about the three semiquaver runs almost sounding articulated although they're not when one gets the fingering just right (I don't consistently!), especially the final up-scale run. Then I noodled about with the triplet run that is the core of this thread out of context - doing some with oxx ooo c naturals, then some with oxo xxx c naturals, then some with c#s (there may be some odds and ends before I settled into the progression). I think I managed to get all three versions to pop at least some of the time, when I did it well enough. The one with the oxx ooo c nat gives a few very pronounced pops because my fingering is less clean with that as it is less familiar/not my normal c nat, but the fact it does so gives some support to things Rob Sharer and others have said up-thread. Finally, I had a go at
Green Fields of Rosbeigh (I have a slightly different setting of it.....), and apart from demonstrating other assorted deficiencies in my playing, I think I manage to get at least some of the B part triplets to pop convincingly, if (unsurprisingly) less so than our exalted exemplar! I used open c# throughout and no extraneous gracings, though at least some of the time I was very lightly soft-tonguing the B at the start of the run.