Klarinet Archive - Posting 000433.txt from 1997/03
From: Automatic digest processor
Subj: KLARINET Digest - 10 Mar 1997 to 11 Mar 1997
Date: Fri, 14 Mar 1997 02:51:12 -0500
There are 29 messages totalling 938 lines in this issue.
Topics of the day:
1. Sax Liebman, Low Notes
2. Bass Clarinet Repertoire? (2)
3. Hard/Close -(Joke)
4. Hard/Close (was Re: Breathing on the clarinet) (fwd)
5. Bass clar.trans/low extensions (fwd)
6. E flat clarinet (9)
7. Masters program (3)
8. Low C Bass Cl - When did they come into common use? (fwd)
9. Bass clar.trans/low extensions (2)
10. duets
11. Test MikeD
12. Boredom? (2)
13. Ibert Sax With Band Arr?
14. Eb playing
15. Fingering: improving g2
16. low B in bass cl.part
----------------------------------------------------------------------
Date: Mon, 10 Mar 1997 19:22:54 -0800
From: Adam Michlin <amichlin@-----.EDU>
Subject: Re: Sax Liebman, Low Notes
At 02:09 PM 3/10/97 -0600, Gary Young wrote:
>On 3/8 Adam Michlin wrote:
>>
>>I was (am being) taught to do that (take less mouthpiece as you go lower)
>>on both saxophone and clarinet. On clarinet, the most obvious advantage is
>>that the low register stays in tune better. On saxophone it helps the
>>intonation and prevents the notes from spreading ("honking"). Have you
>>tried it?
>
>I'm puzzled how this works (on clarinet). Doesn't this mean you are
>constantly moving and resetting your embouchure? Isn't that really
>destabilizing? What kind of motion is this, kind of a rolling? I think
>I'm not getting the picture.
No rolling involved. The clarinet is just very slightly slid out of the
mouth. I've never measured the distance, but I suspect it's millimeters or
less. The embouchure remains consant.
-Adam
amichlin@-----.edu
amichlin@-----.com
------------------------------
Date: Mon, 10 Mar 1997 23:08:09 -0500
From: "Frederick S. Sterns" <fssterns@-----.NET>
Subject: Re: Bass Clarinet Repertoire?
>The best information I can offer at the moment is the editor
>of the most popular bass clarinet orchestral excerpt book (assuming
>there are others). It's a book by Michael Drapkin. Publisher?
>Hopefully somebody else on the list will respond with more
>comprehensive information.
>
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>Neil Leupold
>Southern Methodist University
>Meadows School of the Arts
>nleupold@-----.edu
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Thanks much...if no one else passes on the name of Michael Drapkin's
publisher I think my local music store will be able to find the book.
Genuinely appreciate your taking the time to help...Fred S.
------------------------------
Date: Tue, 11 Mar 1997 00:40:24 -0500
From: J-Love <jwg5@-----.EDU>
Subject: Re: Hard/Close -(Joke)
Don't let Johnny Cash hear you say that!
On Mon, 10 Mar 1997, David C. Blumberg wrote:
> Country Music.... ;) Bada Bing!!
>
>
> At 03:45 PM 3/10/97 +0000, JE Kirkwood wrote:
> >What's 'white noise'?
------------------------------
Date: Mon, 10 Mar 1997 22:12:37 -0800
From: "Mrs. Starr Schaftel Wayne, Dr. John Wayne" <starrs@-----.NET>
Subject: Re: Bass Clarinet Repertoire?
Michael Drapkin's book is published by Roncorp. I'm sorry but I don't
know their phone number. The book is at my student's house.
All the best,
Starr
------------------------------
Date: Tue, 11 Mar 1997 08:49:09 +0000
From: Roger Shilcock
<roger.shilcock%modern-languages-library.oxford.ac.uk@-----.BITNET>
Subject: Re: Hard/Close (was Re: Breathing on the clarinet) (fwd)
---------- Forwarded message ----------
Date: Mon, 10 Mar 1997 11:45:55 -0500
From: Jonathan Cohler <cohler%SHORE.NET@-----.UK>
Subject: Re: Hard/Close (was Re: Breathing on the clarinet)
>> At the risk of sounding argumentative, I need to interject at this point
>> that I use (as do many of the clarinet players here in Philadelphia) a
>> Gigliotti P facing (around 1mm opening) with VanDoren V12 #4 or 4-1/2. I do
>> adjust the balance of most of the reeds I play on and am fairly selective
>> about which ones I actually use. I don't play with white noise at any
>> dynamic level, nor do any of the good players I know here. I never heard
>> white noise in Gigliotti's sound in all the years I studied with him. White
>> noise doesn't need to come from a hard/close setup. Some players who play
>> on those setups tolerate it because they just like the resistance they get
>> from a very stiff reed, but that can be gotten from an open facing as well
>> - just use stiffer reeds. White noise is more likely the result of
>> unbalanced reeds or reeds that are just too stiff for whatever mouthpiece
>> they're being used on. It isn't a necessary result of hard/close
>> combinations if you select/adjust your reeds to be responsive and don't
>> want the noise to be there.
>>
>> Just my $.02 worth of point-counterpoint.
>>
>> Karl
>
>I would like to second what Karl has written re "hard/close" set-ups.
>Some of the most admirable of American clarinetist have preferred just
>such a combination, i.e. Robert Marcellus(a Kaspar 13 or 14, which trans
>lates to a 1.13 or 1.14 tip opening)and Harold Wright(a Chedeville with
>a tip opening of c.1.01 with a #5 Vandoren). Both of these players
>produced a clear, pure tone with no noise, even up close. Another
>example is Dick Waller, ex-principal of the Cincinnati Symphony, who
>used a Kaspar 14. In any event, I don't think it's possible to
>characterise combinations like the above as producing particular
>problems. As Karl said, balanced reeds of the correct hardness for a
>particular opening can be played with a clear tone without noise.
>
>Floyd Williams
>Brisbane, Australia
>http://gu.edu.au/acsc
I agree with Karl's statement that one can (and will) get white noise from
a hard reed whether it is on an open or closed facing.
However, I don't believe that one can avoid the white noise of hard reeds
by balancing the reed. Balancing can of course reduce the white noise to a
minimum for a given piece of cane and optimize the response of the reed.
However, I believe that the white noise is inherent in the cane itself
(hence the more cane, the more noise).
What I have observed is that hard/close setups consistently produce white
noise at low dynamic levels. At the louder dynamic levels, the white noise
is less prominent as it gets largely masked by the normal clarinet sound.
Lighter reeds are more flexible and are therefore more controllable by
subtle changes in lip pressure and positioning. Open facings give one more
dynamic range, because the reed has further to move before it beings
beating on the mouthpiece.
The other important variable that enters here is the shape of the baffle in
the mouthpiece which has a dramatic effect on how "easy blowing" the setup
is.
Also, it is important to remember that white (pink or shaped) noise doesn't
travel far and is masked by other louder musical sounds. Therefore, most
of the time in orchestral environments, you would not hear the noise from
an orchestral player in performances or on record.
If you listen close up, however, as in a solo performance, for example, you
will hear it.
I have never heard a hard/close setup that did not produce white noise very
audible at close range. I would, of course, be interested to learn about
such a thing if it does exist.
---------------------
Jonathan Cohler
cohler@-----.net
I suppose it's a question of just how much "white noise" is tolerable (a)
for the audience, (b) for the player - fellow musicians can be assumed to
have things of their own to worry about. If you find difficulty in
applying small muscular corrections, as I do, you will find that a harder
reed (within reason) favours this problem - there is rather more leeway
than with a soft reed, which may need a considerable (and unnecessary?)
amount of mental effort to control. However, J.C.'s idea of a soft reed
as previously described by him seemed perfectly normal (average hard) to
me, and to some other readers, I think.
Roger Shilcock
------------------------------
Date: Tue, 11 Mar 1997 08:56:01 +0000
From: Roger Shilcock
<roger.shilcock%modern-languages-library.oxford.ac.uk@-----.BITNET>
Subject: Re: Bass clar.trans/low extensions (fwd)
---------- Forwarded message ----------
Date: Mon, 10 Mar 1997 21:23:35 -0600
From: Edwin V. Lacy <el2%EVANSVILLE.EDU@-----.UK>
Subject: Re: Bass clar.trans/low extensions
On Mon, 10 Mar 1997, Peter Stoll wrote:
> I confess, this 2nd vs. 9th math has always slightly confounded me; in
> terms of the part I'm looking at, what would the difference be? Sorry for
> those who find this stuff elem.
>
> On Sun, 9 Mar 1997, Edwin V. Lacy wrote:
>
> > According to the book "The Technique of Orchestration" by Kent Kennan, it
> > was customary in the 19th century for the bass clarinet, when written in
> > bass clef, to sound only a M2 lower than written, rather than a M9.
Let's say you want to sound the note "c" which is one octave below middle
C. On the grand staff, with no transpositions involved, you would write
the note I am talking about on the 2nd space of the bass clef.
The way that would be written today for the bass clarinet, you would
transpose it up one octave plus a whole step, and write it in the treble
clef. Therefore, the note would be written as a D on the first space
below the staff. However, if the part contained a lot of low note
playing, enough so that the many added ledger lines below the staff would
be confusing, you could write it in bass clef. However, the transposition
would be the same, so you would write D on the second space above the bass
clef staff.
However, in the 19th century, there was a different convention. When the
bass clarinet was written in the treble clef, it was handled just as
above. But, in the bass clef, the transposition was just a whole step, or
major second. Thus, to sound the same C we were talking about before, the
composer or arranger would have written D on the 3rd line of the bass
clef.
That practice extended into the 20th century for some composers. Some of
them might occasionally be so considerate as to put a note in the score
telling which transposition they were using. They more often did this for
the French horns, who have a similar but even more complicated problem.
If there is no indication, the player has to try to figure out from the
context which is involved. Often, the best places for looking for clues
are at the places where the changes from one clef to the other occur. For
example, if there is a melodic passage which begins in treble clef and
then changes to bass, it might be possible to tell which transposition is
called for. Another clue could be the tessitura. For example, if in
using one transposition or the other the part would remain for long
passages in the extreme registers in the bass clef part, or exceed the
normal limitations of the range of the instrument, that might tell you
what the composer was thinking.
However, in the piece you originally wrote about, you mentioned that there
occurred both a "low C" and a "high A." I guess I should have asked which
"A" you were talking about, or just exactly how "high" it was.
Note that no matter which procedure the composer would follow for notes in
the bass clef, the treble clef parts should be unaffected. Further, all
the above pertains to the bass clarinet in Bb. For bass clarinet in other
keys, the procedures would be similar, but the transpositions would be
different.
With this information, you are now qualified to pose and answer this
often-used trivia question: Which is the only woodwind instrument of the
symphony orchestra which is a transposing instrument when it is written in
the bass clef? (Note: octave transpositions excluded - such as for
contra-bassoon.)
I hope this helps.
Ed Lacy
*****************************************************************
Dr. Edwin Lacy University of Evansville
Professor of Music 1800 Lincoln Avenue
Evansville, IN 47722
el2@-----.edu (812)479-2754
*****************************************************************
However...... There are 19th century parts written predominantly in the
bass clef (e.g., by Wagner) which go into the treble occasionally. In
these cases, it seems pretty clear that the treble clef passages are
intended to be read an octave higher than is now normal - otherwise,
there would be no point in writing the passages this way.
Roger Shilcock
------------------------------
Date: Tue, 11 Mar 1997 08:26:24 -0500
From: Jeff Berman <jberman@-----.EDU>
Subject: E flat clarinet
I am a neophyte e flat wannabe. Does anyone have advice on beginning an e
flat career from scratch? I am a fairly experienced b flat and a
clarinetter. Specifically, if I find an instrument, etc, how long does it
generally take to get up and running to the point where I would be welcomed
in an ensemble (assuming that I would be welcome anywhere)?
Thanks.
Jeff Berman
------------------------------
Date: Tue, 11 Mar 1997 07:41:35 -0600
From: "Robert D. Shaw" <theshaws@-----.NET>
Subject: Masters program
I would like to ask advice of those on the list who are knowledgable
about Master programs in music. I am trying to pick a school that I can
drive to from my home (I am married with children) and have only a few
choices since I live in Northwest Arkansas. I want to get my masters in
applied music. What should be my major consideration for this? Is the
clarinet teacher my major consideration? And how do I find out about
the various teachers? I have already visited one of the teachers and
taken a few lessons. Is this the right approach? Advice would be
greatly appreciated.
Deborah
------------------------------
Date: Tue, 11 Mar 1997 08:45:30 -0500
From: "Scott D. Morrow" <SDM@-----.EDU>
Subject: Re: E flat clarinet
>I am a neophyte e flat wannabe. Does anyone have advice on beginning an e
>flat career from scratch? I am a fairly experienced b flat and a
>clarinetter. Specifically, if I find an instrument, etc, how long does it
>generally take to get up and running to the point where I would be welcomed
>in an ensemble (assuming that I would be welcome anywhere)?
>
>Thanks.
>
>Jeff Berman
Jeff,
It shouldn't take you long at all if you're proficient on the Bb
already. I found it was mostly a matter of getting used to the size of the
instrument and developing breath control (Eb's have greater backpressure!)
- you don't have to relearn the fingerings!
-Scott
Scott D. Morrow
Department of Biochemistry
School of Hygiene and Public Health
Johns Hopkins University
(410) 955-3631
SDM@-----.edu
------------------------------
Date: Tue, 11 Mar 1997 08:58:05 -0500
From: Adam Calabrese <adam.calabrese@-----.GOV>
Subject: Re: E flat clarinet
At 08:26 AM 3/11/97 -0500, Jeff Berman wrote:
>I am a neophyte e flat wannabe. Does anyone have advice on beginning an e
>flat career from scratch? I am a fairly experienced b flat and a
>clarinetter. Specifically, if I find an instrument, etc, how long does it
>generally take to get up and running to the point where I would be welcomed
>in an ensemble (assuming that I would be welcome anywhere)?
If you are fairly experienced, then you should have no trouble at all.
I'm
a B flat soprano player, and I had to play E flat soprano in band and
orchestra in college a bit. The school had an E flat soprano that they gave
me when they handed out the new music, and I was expected to play at the
next rehearsal. It was a novelty, and interesting because it's so small,
and easily discernable above the rest of the ensemble because (a) well, it
plays high frequency notes, (b) it's timbre is much different than normally
heard in orch. or wind ensemble/symph. band pieces, and (c) the only times
it's normally used is when there is an important solo passage.
On the downside, it's an incredible beast to keep in tune. I get shivers
down my spine thinking about it sometimes (and the school even had a good
"name" E flat).
If you're talking about E flat alto, then my previous comments don't
really apply, but having played B flat bass clarinet also, I should expect
that there won't be much of a problem going to the alto clarinet. Actually,
if I remember my limited experience with the E flat alto, the comment about
tuning still applies.
Later,
-Adam Calabrese
National Institute of Standards and Technology
Gaithersburg, MD 20899
------------------------------
Date: Tue, 11 Mar 1997 09:00:42 -0500
From: Marian Rutty <mrutty@-----.ORG>
Subject: Re: E flat clarinet
practice!
Marian Rutty, Librarian Computers don't replace people
Notre Dame High School They enhance education.
1400 Maple Avenue
Elmira NY 14904
607-734-2267 TEL
607-737-8903 FAX
On Tue, 11 Mar 1997, Jeff Berman wrote:
> I am a neophyte e flat wannabe. Does anyone have advice on beginning an e
> flat career from scratch? I am a fairly experienced b flat and a
> clarinetter. Specifically, if I find an instrument, etc, how long does it
> generally take to get up and running to the point where I would be welcomed
> in an ensemble (assuming that I would be welcome anywhere)?
>
> Thanks.
>
> Jeff Berman
>
------------------------------
Date: Tue, 11 Mar 1997 09:09:47 -0500
From: Marian Rutty <mrutty@-----.ORG>
Subject: Re: Masters program
yes, it is good that you are having lessons before hand. i really admire
you for this big undertaking. if i was married with childern, i would
never been able to cut the masters program, but i understand alot of
people who do. it will not be easy, but the sooner you start the better,
and yes you need to stay close to home, unless you have a great other-half
who will allow you to travel and possibly live away from home for a year .
good luck! you sound most positive and reasonable in your search.
this is coming from a single middle aged person who has never been mwc.
Marian Rutty, Librarian Computers don't replace people
Notre Dame High School They enhance education.
1400 Maple Avenue
Elmira NY 14904
607-734-2267 TEL
607-737-8903 FAX
On Tue, 11 Mar 1997, Robert D. Shaw wrote:
> I would like to ask advice of those on the list who are knowledgable
> about Master programs in music. I am trying to pick a school that I can
> drive to from my home (I am married with children) and have only a few
> choices since I live in Northwest Arkansas. I want to get my masters in
> applied music. What should be my major consideration for this? Is the
> clarinet teacher my major consideration? And how do I find out about
> the various teachers? I have already visited one of the teachers and
> taken a few lessons. Is this the right approach? Advice would be
> greatly appreciated.
>
> Deborah
>
------------------------------
Date: Tue, 11 Mar 1997 08:51:25 -0600
From: "J. Lawrie Bloom" <l-bloom@-----.EDU>
Subject: Re: Low C Bass Cl - When did they come into common use? (fwd)
>On Sun, 9 Mar 1997, Gary Van Cott wrote:
>
>> I am looking at a clarinet quartet which has a bass clarinet part
>> written in bass clef. It is French and from 1937. If played as written,
>> it is full of low Cs. I don't believe playing it an octave higher would
>> make sense because of the range in general and the fact that this would
>> take the part up to an altissimo A.
>
>According to the book "The Technique of Orchestration" by Kent Kennan, it
>was customary in the 19th century for the bass clarinet, when written in
>bass clef, to sound only a M2 lower than written, rather than a M9. I
>would be a little surprised to see that as late as 1937, but I suppose it
>could happen. I would guess that altissimo A and low C would be about
>equally rare at this period.
I think I'm getting a little confused in this paragraph. When written in
bass clef the bass clarinet *always* sounds a M2 lower. So what does "as
late as 1937" mean? And Les Hugenauts by Meyerbeer has a bass clarinet
cadenza with an altissimo G, premiered on Feb 29, 1836.
>
>Ed Lacy
>el2@-----.edu
>Surely Shostakovich bass clari parts are written this way?
Which way? In my experience all Shostakovich parts are written in treble,
sounding a M9 lower. Have others seen parts in bass clef?
Janacek parts
>certainly are - and he used the low C in the 1920s.
also written in treble, and Db is the lowest I ever saw.
No doubt there were
>more Low C instruments around in Czechoslovakia then in France.
Interesting supposition. Is it true?
>Roger Shilcock
--
J. Lawrie Bloom
clarinet and bass clarinet Chicago Symphony Orchestra
Northwestern University l-bloom@-----.edu
------------------------------
Date: Tue, 11 Mar 1997 09:06:34 -0600
From: "Janis A. Brown" <jbrown@-----.EDU>
Subject: Re: Masters program
My advice to you regarding masters degree programs is to find a teacher and
a degree that you think will improve you both as a player and a musician.
For instance, if you want to play in an orchestra and you haven't had much
opportunity to do so up until now then I would look for a teacher who
either has or still does play in an orchestra anda school that has a good
university orchestra. Or perhaps you want to be a college teacher, then
you need to find a teacher whose students are teaching at universities
already. What yopu don't want is to go through all of the hassel necessary
for a master degree and discover at the end that you haven't improved your
current situation. Also, most masters degrees don't require you to be on
campus every single day, depennding of course on how long you have been out
of undergraduate school and if any of your credits from that degree
transfer in towards your masters. SFA is a wonderful school and it is not
too far away from Northwest Arkansas. I am the clarinet instructor here
and my students are doing wonderful things. Two of my studnets have gone
on to work on their doctoral degrees at Michigan State University with Dr.
Verdehr, and Arizona State University with Dr. Rpbert Spring, and my high
school students have gone to Eastman and Julliard respectively. If you are
interested in our program e-mail me at the address listed below and we will
talk. Of course if you would like to speak in person please feel free to
phone me as well. There is a lot that goes into making a graduate school
decesion and you need to make the right choice all the way around, i.e. the
degree, time, family, etc.
Hope this information helps-JAB
:-------------------------------------------------------------------------:
| Janis A. Brown | Voice: (409) 468-1360 |
| Clarinet Instructor | Music Office: (409) 468-4602 |
| Stephen F Austin State University | Fax: (409) 468-5810 |
| Nacogdoches, Texas | E-mail: jbrown@-----.edu |
>-------------------------------------------------------------------------<
| Web Page: http://www.finearts.sfasu.edu/music/faculty/JBrown.html |
`-------------------------------------------------------------------------'
------------------------------
Date: Tue, 11 Mar 1997 09:13:57 -0600
From: "Janis A. Brown" <jbrown@-----.EDU>
Subject: Re: E flat clarinet
My advice to you regarding playing Eb clarinet is to build your reeds from
Bb reeds and don't use Eb reeds. The sound of the Eb will be more like
that of a Bb clarinet, it improves the natural pitch tendencies, and your
embouchure feels more at home and less like you are playing an other
instrument. All you have you do is try a Bb reed on the Eb clarinet, yes
it will be too long for the Eb mouthpieces but you can cut it off after you
find out how it sounds on the Eb. If the reed is too wide for the
mouthpiece I use a model airplane planer and make the reed narrower.
Voila, you have a good Eb reed and you don't sound like a Eb clarinet
unless you want to.
If you need more advice don't hesitate to e-mail me and we will talk more.
Good luck-JAB
:-------------------------------------------------------------------------:
| Janis A. Brown | Voice: (409) 468-1360 |
| Clarinet Instructor | Music Office: (409) 468-4602 |
| Stephen F Austin State University | Fax: (409) 468-5810 |
| Nacogdoches, Texas | E-mail: jbrown@-----.edu |
>-------------------------------------------------------------------------<
| Web Page: http://www.finearts.sfasu.edu/music/faculty/JBrown.html |
`-------------------------------------------------------------------------'
------------------------------
Date: Tue, 11 Mar 1997 09:21:30 -0600
From: "J. Lawrie Bloom" <l-bloom@-----.EDU>
Subject: Re: Bass clar.trans/low extensions
>> On Sun, 9 Mar 1997, Edwin V. Lacy wrote:
>>
>
>Let's say you want to sound the note "c" which is one octave below middle
>C. On the grand staff, with no transpositions involved, you would write
>the note I am talking about on the 2nd space of the bass clef.
>
>The way that would be written today for the bass clarinet, you would
>transpose it up one octave plus a whole step, and write it in the treble
>clef. Therefore, the note would be written as a D on the first space
>below the staff. However, if the part contained a lot of low note
>playing, enough so that the many added ledger lines below the staff would
>be confusing, you could write it in bass clef. However, the transposition
>would be the same, so you would write D on the second space above the bass
>clef staff.
No, it would be on the middle line in bass clef! The note you've written
will give you middle C concert.
>
>However, in the 19th century, there was a different convention. When the
>bass clarinet was written in the treble clef, it was handled just as
>above. But, in the bass clef, the transposition was just a whole step, or
>major second. Thus, to sound the same C we were talking about before, the
>composer or arranger would have written D on the 3rd line of the bass
>clef.
>
Could you give us an example of this happening in a specific piece? I've
never come across what you are describing. Now remember, bass parts are
not always the same as what you see in the score! Lots of times the score
will be in one clef and the printed part in another.
>That practice extended into the 20th century for some composers. Some of
>them might occasionally be so considerate as to put a note in the score
>telling which transposition they were using. They more often did this for
>the French horns, who have a similar but even more complicated problem.
>If there is no indication, the player has to try to figure out from the
>context which is involved. Often, the best places for looking for clues
>are at the places where the changes from one clef to the other occur. For
>example, if there is a melodic passage which begins in treble clef and
>then changes to bass, it might be possible to tell which transposition is
>called for. Another clue could be the tessitura. For example, if in
>using one transposition or the other the part would remain for long
>passages in the extreme registers in the bass clef part, or exceed the
>normal limitations of the range of the instrument, that might tell you
>what the composer was thinking.
>
>
>Note that no matter which procedure the composer would follow for notes in
>the bass clef, the treble clef parts should be unaffected.
What about Strauss? In a tone poem like Death and Transfiguration, or
Symphonica Domestica both clefs are involved and when it's in treble clef
you play up an octave from what you see written. Several French composers
also used this technique, though it is sometimes referred to as "German
notation".
--
J. Lawrie Bloom
clarinet and bass clarinet Chicago Symphony Orchestra
Northwestern University l-bloom@-----.edu
------------------------------
Date: Tue, 11 Mar 1997 10:34:12 EST
From: NANCY BUCKMAN <ZNJB@-----.US>
Subject: Re: E flat clarinet
This may not be what anyone else would recommend, but here's how
I got started. I happened to be reading the classifieds one
weekend I came across an E-fer for sale at a pawn shop. I went and
inspected it and it was in pretty decent shape. Since I don't think
any E-fer is 80% perfect, because it was in decent condition, I bought
it for $175. It was a Selmer Paris model. It came with a Selmer B*
mouthpiece, which I cleaned and disinfected.Then I sat down and played
it until I could handle a chromatic scale from low E to D above the
staff. If you play a fair amount (at least every day), this won't take
but a day or two. Then I went to the local Community Band and told them
I was an E-flat player. They let me stay and play and I've been doing
it ever since. I've since bought a better instrument and mouthpiece
and can honestly say the E-fer is my favorite clarinet. Good luck!!
Nancy Buckman
znjb@-----.us
------------------------------
Date: Tue, 11 Mar 1997 09:42:04 -0600
From: Neil Leupold <nleupold@-----.EDU>
Subject: Re: E flat clarinet
On Tue, 11 Mar 1997, NANCY BUCKMAN wrote:
> and can honestly say the E-fer is my favorite clarinet.
Whoah!
------------------------------
Date: Tue, 11 Mar 1997 09:41:37 -0600
From: "Patricia Medina." <pmedina@-----.NET>
Subject: Re: E flat clarinet
>I am a neophyte e flat wannabe. Does anyone have advice on beginning an e
>flat career from scratch? I am a fairly experienced b flat and a
>clarinetter. Specifically, if I find an instrument, etc, how long does it
>generally take to get up and running to the point where I would be welcomed
>in an ensemble (assuming that I would be welcome anywhere)?
>
>Thanks.
>
>Jeff Berman
I have an e-flat for sale if anyone is interested. It's an old Noblet with
an HS* mouthpiece. Want $300 but can negotiate.
Pat
------------------------------
Date: Tue, 11 Mar 1997 11:32:47 -0500
From: "Scott D. Morrow" <SDM@-----.EDU>
Subject: Re: duets
>Did you ever notice that practicing a duet without the other clarinettist
>isn't quite as fun? I always feel I'm missing so much. Once I made a
>recording of myself playing the second part just to replay it while I
>practiced the first part. I only get to play my duets with my clarinet
>teacher once a week. Any suggestions? TIA
> --<-{= Kathi =}->--
Unless I had access to another clarinetist, I'd do exactly what you're
doing with a tape recorder!
-Scott
Scott D. Morrow
Department of Biochemistry
School of Hygiene and Public Health
Johns Hopkins University
(410) 955-3631
SDM@-----.edu
------------------------------
Date: Tue, 11 Mar 1997 11:52:38 -0500
From: Michael Dolgin <mikekold@-----.NET>
Subject: Test MikeD
TEST< TEST
--
Internet Communications of America, Inc.
------------------------------
Date: Tue, 11 Mar 1997 11:44:25 -0700
From: Gary Van Cott <Gary_VanCott@-----.COM>
Subject: Re: Bass clar.trans/low extensions
Gary VanCott = NHIN
03/11/97 11:44 AM
Since I started this, let me mention again, that from the context
of the bass clarinet part I am sure it was intended to be played as
written. This was written for the clarinet quartet "Lablanc" so presumably
they had access to the latest and greatest Leblanc instruments which I
suppose included low C bass clarinets.
Has anyone else ever seen a reference to this quartet or seen any other
music written for them?
Gary
Las Vegas, NV
Gary_VanCott@-----.com
------------------------------
Date: Tue, 11 Mar 1997 14:58:56 -0500
From: Laurence Liberson <hardreed@-----.COM>
Subject: Re: Boredom?
On Mon, 10 Mar 1997, Jacqueline Eastwood wrote:
> BTW, the second part for "La Traviata" is just as boring as I was warned
> it would be ......
>
>
> Jacqueline Eastwood
> University of Arizona/Arizona Opera Orchestra
> eastwooj@-----.edu
Well...you could always listen to the singing. I heard that the
vocal parts are actually quite interesting!
Baring that, you could always take up crossword puzzles. This is an
ideal activity for an orchestral clarinetist:
1. They usually fit well on the stand
2. You will learn all sorts of useless information (unless you
become a contestant on "Jeopardy").
3. By virtue of doing -- and completing -- these puzzles while at
work, those around you will think you to be very intelligent...or
weird!
I'm still not quite sure what my colleagues are thinking about me,
come to think about it...
Larry Liberson
Detroit Symphony Orchestra
hardreed@-----.com
------------------------------
Date: Tue, 11 Mar 1997 16:34:29 -0500
From: "Eliabeth R. Goeke" <goeke@-----.EDU>
Subject: Re: Boredom?
> > BTW, the second part for "La Traviata" is just as boring as I was warned
> > it would be ......
> >
> >
> > Jacqueline Eastwood
> > University of Arizona/Arizona Opera Orchestra
> > eastwooj@-----.edu
>
> Well...you could always listen to the singing. I heard that the
> vocal parts are actually quite interesting!
>
Actually, 'La Traviata' was the first opera I ever saw live. I went home
and watched Disney movies for the rest of the weekend to kill the sense of
despair. This past fall, Middlebury College put on 'Camille', which was
the play that the opera was based on, and it effected me in the same way.
Maybe you should find some really happy book to read to counter the
effect....
elizabeth
*****************************************************************************
Elizabeth Goeke
Middlebury College
goeke@-----.edu
*****************************************************************************
------------------------------
Date: Tue, 11 Mar 1997 17:01:01 -0500
From: "David C. Blumberg" <reedman@-----.COM>
Subject: Ibert Sax With Band Arr?
I know this is a Sax question, but...
Ibert Concertino For Alto Sax. Is there a Band arr. of the accompaniment?
If so, who Publishes it?
David C. Blumberg
Principal Clarinet Riverside Symphonia
reedman@-----.com
------------------------------
Date: Tue, 11 Mar 1997 16:06:53 -0600
From: Bob <laker29@-----.NET>
Subject: Re: E flat clarinet
Many Clarinet Players are "Concerned" by Eb Players! It's like Piccolo!
You are so Exposed, that you must be "perfect" & "Very In Tune" or you are
a liability to the Whole Ensemble!!
You must have an Excellent Ear, and like piccolo "Don't Miss"!!
I played Eb for several years in Bands, and you must not only Match Pitches
with Flutes at times, but also Clarinets! As we all know, Flute Players
have a different concept of Pitch than Clarinet Players! And then also
Oboe Players...
Good Luck!! I enjoy having the Flute players play Eb Clarinet (Cues) or
then 1st Clarinets!
At 8:26 AM 3/11/97, Jeff Berman wrote:
>I am a neophyte e flat wannabe. Does anyone have advice on beginning an e
>flat career from scratch? I am a fairly experienced b flat and a
>clarinetter. Specifically, if I find an instrument, etc, how long does it
>generally take to get up and running to the point where I would be welcomed
>in an ensemble (assuming that I would be welcome anywhere)?
>
>Thanks.
>
>Jeff Berman
------------------------------
Date: Tue, 11 Mar 1997 17:20:59 -0800
From: Roger Lewis & Denise Gulliver-Lewis <pmflewis@-----.NET>
Subject: Re: Eb playing
On March 11, Jeff wrote:
> I am a neophyte e flat wannabe. Does anyone have advice on beginning an e
> flat career from scratch? I am a fairly experienced b flat and a
> clarinetter. Specifically, if I find an instrument, etc, how long does it
> generally take to get up and running to the point where I would be welcomed
> in an ensemble (assuming that I would be welcome anywhere)?
>
.............
As many others have written, you should adjust in no time at all if you
are already proficient on Bb. The trick is intonation. Find a good
mouthpiece! Brand will vary for you, but check them out on a tuner. Eb
clarinets run notoriously flat in the extreme upper register, so find a
mouthpiece that will help you compensate for this. Once you can run a
scale in tune (up to the D above the staff as someone suggested) you
should be ready to roll.
I also second the recommendation to use Bb reeds. Again, look for a
mouthpiece that has rails wide enough to accomodate this. You can take
the reeds down at the sides, too, if needed by sanding the reed on its
side. This will take a bit of practice before you can get them even,
though! You don't mention if you are looking at band or orchestra
work. If orchestra is it, you'll need to be checking out a few Eb
excerpts. Some of those parts are deadly if you are not prepared
(Daphnis in particular)
Hope this helps!
Denise Gulliver-Lewis
Principal Clarinet
Elkhart Symphony
------------------------------
Date: Wed, 12 Mar 1997 08:16:26 +0900
From: Randolf Keller <rkeller@-----.COM>
Subject: Fingering: improving g2
Recently I found out that on my Buffet RCs the g2 (in the clarinet register)
sounds much more focused if I also press the key that is used for c2 (right
hand or left hand 4th, small finger).
The positive change in tone quality was amazing to me (that's why I am
asking) and I'll use that fingering from now on for the slow things.
(Pitch is lowered a little bit, but negligible)
Does somebody have a similar experience with that fingering?
Is it related to Buffet RCs?
Randolf
------------------------------
Date: Tue, 11 Mar 1997 19:11:24 -0500
From: Peter Stoll <peter.stoll@-----.CA>
Subject: low B in bass cl.part
I just wanted to highlight a question buried in my last post about low
extension bass clarinets; I recently saw a part that seemed to call for a
low B, under the 2nd ledger line of the bass clef (looks like a low G in
treble clef). Is there such a note, even on extended bass clarinets? It
wasn't just one B, either, and you had to play around this pitch (I don't
think a paper towel liner-as-extension would work. It was a piece called
"Air" by Ivana Loudova, written for Josef Horak.
Thanks,
P
------------------------------
End of KLARINET Digest - 10 Mar 1997 to 11 Mar 1997
***************************************************
#############################
Notice:
This message was found in a dead-letter box and appears to be for you.
If you have already gotten a copy of this message, we beg your tolerance.
The Unix Systems Group
