Klarinet Archive - Posting 000649.txt from 1997/12

From: jeff.chan@-----.com
Subj: Re: R series Selmer Eb Contra
Date: Fri, 12 Dec 1997 12:36:06 -0500

Bill,

The original post asked if there were any shortcomings to a particular
instrument. Someone else then mentioned that it had some weakness in
the altissimo. I agree that it may be silly to _arrange_ music for
the altissimo range of a contrabass clarinet, but there are more and
more examples of composers writing _original_ music using the extreme
ranges of instruments to obtain a certain timbre (the Stravinsky that
I mentioned, the Shostakovich piano trio opening where the cello is
playing harmonics on its highest string while the violin is playing
very much below it on the G string, etc.).

The purpose of my original post was to indicate that there possibly
were legitimate uses for the altissimo range of the contra, and that
should be taken into consideration in deciding to spend hard earned
cash for something that might not fit the need. It seemed to me that
the thread was headed in a direction that indicated that music written
(or arranged) for the altissimo contrabass should probably be
dismissed (as silly). That was the thinking that I was trying to
refute.

If the instrument in question does have a weak altissimo, and the
potential purchaser of this instrument is only going to play
arrangements of music for clarinet choir, and he/she or someone else
is willing to rearrange the occasional arrangement to avoid the use of
the weak altissimo of the contrabass that the performer owns, then the
purchase may be a happy one.

However, if the instrument is being purchased as a general purpose
tool for music performance, with the expectation that it be capable of
playing anything legitimately written for it, then the purchaser
should consider all of its shortcomings.

As a musician primarily performing chamber music, I am continually
stretched technically by the music that I am seeing. It is important
to me that my instruments not be an impediment (as is technically
possible).

(Note to the entire list: The list does seem to have taken on a very
confrontational tone in the postings that I am seeing. I don't mean
to continue that trend here, only to offer my opinions and my reasons
for voicing them.)

Jeff Chan
jeff.chan@-----.com

On 12/11/97 at 8:07, bill Hausmann wrote:

Oboe and bassoon differ enough from each other to negate your
argument, although I frequently harass oboists by referring to their
instrument as the soprano "oon". (Why is there no tenor in the oon
family?) In some cases, especially in recent music, a particular
effect is desired requiring a particular timbre achievable only by
stretching the range of an instrument. But, in the main, it is still
silly.