Klarinet Archive - Posting 000170.txt from 1994/07

From: HardReed@-----.COM
Subj: Quality vs. color, Part I
Date: Sun, 24 Jul 1994 23:20:05 -0400

I would like to answer Joshua Proschan's simple query "Why?" to my
thoughts about which instrument to use when and why and where
and delve into the subject of sound a bit deeper, if you all will indulge me.
Since my connection with the Internet (America Online) sometimes truncates
(or loses) my E-mail to this list, I'll send a piece by piece.....Just wanted
you to know that so you won't be annoyed by my several responses on the one
subject!

First, of all, is why I would want to "match" my A and B-flat clarinets to
each other as closely as possible. I went into that subject somewhat deeply
a couple of months ago, but I'll try to succinctly (ha-ha!) summarize here:
I may spend a good deal of my time on the job playing the various solos in
the orchestral repertoire, etc., but first and foremost I am member of an
ENSEMBLE! The various nature of the ensemble beast is to become and remain
part of that large body, yet to still hold onto whatever individuality one
possesses--both sonically and musically--but always with the goal of the
ensemble in mind.

I'm certainly not advocating that we ignore the various colors, timbres,
hues, etc. of the clarinet. That's what makes it the most unique and
expressive of all wind instruments. What I'm advocating is a "point of
departure", so to speak. For an ensemble to be effective, each of the
members must exhibit some sort of consistency in the basic fundamentals of
music, i.e. pitch, rhythm, balance and SOUND! It is unfair to my colleagues
to come in every day with a different concept of sound. How does a woodwind
section--or a clarinet section--effectively perform under those
circumstances? Poorly, at best. All semblance of blend (when called for, of
course) is then lost. Listen to orchestra after orchestra and you will hear
both uniform concepts of sound within the section
as a whole, yet fine, expressive and individualistic solo playing, both in
style and sound. Thats's called flexibility!

I maintain that we, as orchestral clarinetists especially, do not need to
draw upon the tonal distinctions between our various keyed instruments. Yes,
I try to match my A and B-flat clarinets. Are they matched? Not perfectly.
Each instrument in a different key has a uniqueness all it's own. Do we
need to bring these various characteristics out even more? Do we need to
emphasize the differences? I don't believe we do. Those differences are
already there, built into the instrument, inherent in the different
instruments. Part of my feelings reflect my personal concept of clarinet
sound. I don't spend my time trying to make the E-flat clarinet sound even
brighter and edgier or whatever; rather, I approach the E-flat like one
of it's bigger brothers! No matter how hard I try to avoid them, the
inherent tonal qualities of the E-flat clarinet are going to come through
anyways!

Matching sounds--"points of departure"--of instruments is not the same as
bringing "out any tone quality within the nature of the instrument, blending
or constrasting according to the music?" as Joshua puts it. These are two
totally different things. Obviously, different music calls for different
colors.

......to be continued!

   
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