Klarinet Archive - Posting 001020.txt from 1995/10

From: bassethn@-----.ORG
Subj: Bass Clarinet, doubling
Date: Sat, 28 Oct 1995 00:34:44 -0400

I read with great interest Clark Fobes' post on bass clarinet and
doubling. An eloquent, personal piece.

I am a bass clarinet player first. I have always had to work more on
soprano clarinet than bass -- bass has always come quite simply to me. I
could not agree more with Clark about mouthpiece setups being
compatible/comparable for ease of doubling.

He is quite right that the bass is a distictive voice in the wind band of
an orchestra. However, I would like to add (hopefully not too
didactically) that it must be played well to be distinctive.

However, many 'part-time' bass clarinet players do not play with the focus
and colours that fine players use. They are unaware (perhaps paralysed by
fear of the bcl?) how to balance and blend in the section. It is colour,
blend, clarity of sound and intonation, among others things, that allow
the bass clarinet to sing or blend in the wind band. I have heard too many
bass players who cannot be heard in the wind section -- hence the
direction to 'pump air through the instrument'. It takes time with the
instrument and a dedication equal to that one would have to play the
soprano clarinet in order to play the bcl very well.

Playing bass clarinet in an orchestral wind section is a highly
specialized area of expertise, especially in the larger (4 person)
clarinet sections in North America. Clark's comment that some clarinet
players pursue it as a hobby is right on. There are too many fine bass
clarinet players out there now to simple grab the bcl a couple of days
before playing Don Quixote and expecting that you'll be rehired.

=========================================
David Bourque
Bass Clarinet, Toronto Symphony Orchestra
** Note new address **
Internet: bassethn@-----.com
=========================================

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