Klarinet Archive - Posting 000766.txt from 1996/03

From: "Sydney R. Polk" <jazzman@-----.NET>
Subj: Transcriptions
Date: Thu, 28 Mar 1996 00:19:10 -0500

I have really mixed feeling about transcriptions. I grew up playing strange
instruments (bari sax, bass and contrabass clarinets), and had very little
original literature that wasn't way too difficult for me. Most of the literature
I ended up playing was trascriptions. I also did a lot of alto sax stuff
on bari and clarinet stuff on bass. I also was never in an orchestra, so
my only exposure to playing orchestral repetoire was through band
transciptions. I certainly feel that transcriptions can be played bery
well and can be quite constructive, but should not be relied upon.

I loved playing bassoon literture on bari sax. It can be a challenge; you
have to play altisimmo fairly well, and of course, the bari is missing
2-3 notes that the bassoon has. The tenor clef stuff takes getting used
to also.

Playing contrabass clarinet adds some more transcription necessities. A
BBb contrabass clarinet that goes down to low C is on the order of $8000,
while a contrabassoon starts at $17500. Combine this with the fact that
the clarinet is MUCH louder, and the reeds are cheaper ($7 compared
to $30 or more), and that you don't have to know bassoon fingerings,
and the parts are more common in band literature, you have a more popular
instrument. I have played contrabassoon parts on several band works and
one orchestral on the contrabass clarinet because the part simply would
not have been played otherwise. This is akin in my mind to cueing oboe
parts in muted trumpets, English horn in alto saxophone, and bassoon
or baritone parts in tenor sax/bass clarinet parts. A necessary part
of a band.

I feel that a performer should strive to include as much original literature
for his instrument as he can, but an occasional transcrition, esp. if
it makes the perfomrance more accesible to the audience, should not
be frowned upon.

Syd Polk

   
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