Klarinet Archive - Posting 000290.txt from 1999/05

From: avrahm galper <agalper@-----.com>
Subj: [kl] TIMBRES
Date: Sun, 9 May 1999 10:27:50 -0400

Timbres

There are a few places in Berlioz's Fantastique that should have used
the original clarinet, which was in C.
The end of March to the scaffold, has the theme ending with a crescendo
from B above the staff to C. Like a last minute cry.
On the Bb clarinet, which makes it C# to D, one is usually careful to
have a nice tone on the C#, therefore the crescendo is somewhat
restrained.
On the C clarinet, it is from B to C. You can really let go.

The other passage is in the next movement. The theme is supposed to
start from a great distance.
No matter how soft it was played on the Bb, it still sounded too close.
The notes on the C clarinet start from open G.
The Bb clarinet A sounds distinctly louder.

We did everything possible to make it sound far off. In one instance one
of the players played it from the hall where the musicians come in
(with the door closed). He played iT on an Eb to give it the color. The
other time, it was played covered with a leather bag.
On the recording this solo was played from the balcony to try and give
the distant effect.

So many times the C clarinet serves as a distinct color Not always a
matter of finger comfort.
It has a color of its own.

--
--
Avrahm Galper
CLARINET TONE TECHNIQUE AND STACCATO
CLARINET UPBEAT SCALES AND ARPEGGIOS
http://www.sneezy.org/avrahm_galper/index.html

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