Klarinet Archive - Posting 000950.txt from 1995/10

From: CLARK FOBES <reedman@-----.COM>
Subj: Bass Clarinet, doubling
Date: Wed, 25 Oct 1995 16:31:47 -0400

I have not had much time to read the Klarinet list lately because I
have been very busy performing and working. However, having just
finished a run of "Madama Butterfly" on bass clarinet with the San
Francisco Opera I think I can add some salient comments on the subject
of playing bass clarinet.

I think that for most clarinetists playing the bass clarinet is
more akin to a hobby than a serious effort. The reasons are clear. Most
students who work toward a performance degree seem to think that they
are going to win a principal clarinet job and study to that end. This
is fine. In fact, I am right in line with every one who has indicated
that studying the clarinet should take precedence over bass clarinet.

However, If you want to excell on the bass clarinet there comes a
point where one just has to live with the damn thing for awhile. It is
impossible to become fluent on the bass if you do not own one or have
one at your immedite disposal for a good 6 months to a year. I know
when I first became fluent on the bass clarinet. It was a summer I
spent playing bass clarinet with the "American Wind Symphony". Part of
my duties were to play clarinet in a quintet so I did not lose those
skills, but my goal that summer was to learn all of the Rose 32 etudes
on bass and play them as well as I did on clarinet. It worked.

And, as Dan Leeson hinted at, you have to love the sound. You must
really enjoy playing with the basses and cellos and bassoons. In all of
Madama Butterfly there really are no juicy solos, but one takes his
reward from playing ensemble, making beautiful sounds and regarding the
genius of Puccini in his orchestration and use of the bass clarinet for
color.

I also STRONGLY disagree with the statement that you have to get
used to "really pumping the air through the bass clarinet". That is
pure nonsense. A good instrument with an efficient mouthpiece and the
proper strength reed is very efficacious in producing a sonority that
will come through the orchestra with the same effort as playing a
soprano clarinet. I do coach players occasionally and with out
exception they all come to me playing a set up that is simply too
resistant. I also think that many players believe that because the
instrument is bigger it NEEDS to be played LOUDER. As a member of the
orchestra the bass clarinet has a very distinctive voice and projects
easily. If necessary, the bass clarinet is capable of a huge sound, but
the ability to play incredible pianissimi is often overlooked.

If you want to be a lout, play out. But if you want to be an artist
you must have musical skills and sensitivity that are as good as any of
your colleagues that play principal oboe, flute, clarinet etc.

As to switching or doubling this is a practical matter that only
comes from experience. Any good doubler will tell you that the most
important aspect of switching is to have mouthpiece set ups that are
compatible. That's probably different for every one, but my approach
has been to have a bass mouthpiece and clarinet mouthpiece that present
a similar resistance and a similar quality of sound. That is, the bass
clarinet should be a lower extension of your clarinet sound and vise
versa.

I do a lot of playing in the San Francisco area as a bass
clarinetist, but I consider myself a clarinetist first. Clarinet is
what I studied primarily as a student and what I practice most. I have
always considered bass clarinet my second love, but a very close
second.

Clark W Fobes