Klarinet Archive - Posting 000315.txt from 2000/06

From: Tony@-----.uk (Tony Pay)
Subj: SV: [kl] Alf Horberg's comments
Date: Sat, 10 Jun 2000 16:44:20 -0400

Alf Horberg wrote:

> Dan, if you followed Tony's and mine short conversation you noticed
> that I wrote the wrong bar number in my first message. Just to be
> sure, the right bar numbers are: 1st. mov. bar 295 should be similar,
> with the same steps as bar 107. 3rd. mov. bar 146-153 should all be
> in the lowest octave, with low B-natural in bar 147. I just want to
> stress the fact that Eric is the one who should have all the credit
> for the discovery. I basically just happened to be there.
>
> > I am so excited by Alf's statement which dealt with the possibility
> > of a low B-natural on Stadler's basset clarinet that I cannot wait
> > until I get home to examine the places he mentioned in his note.
> > Am anxious to get a feeling about the use of this note at the places
> > he suggests might be appropriate. Absolutely sensational
> > information!! Dan Leeson

I'm not getting any of these posts, as my ISP is recovering from a DOS
attack. But I pulled this off 'latest posts'.

I didn't find, as Alf did, the repeated FDFD in 295 irritating. After
all, it's motivic (being a repeated descending third) as I was arguing a
couple of weeks ago. And the same notes appear 4 bars later at the
beginning of 299, and *could* be repeated an octave lower at the *end*
of 299. (I may try this the week after next when I have some
performances in Spain.)

(This recurrence of those notes in 299 BTW, Alf, is why I got confused
by your post. I went straight to 299 because that was the bar I thought
you were talking about, and failed to see that I wasn't looking at
what you'd correctly written as 295, even though you'd *incorrectly*
written 102 instead of 107;-)

The bit in the last movement I'd certainly go along with if I had a low
B. It's nicer in the lower octave, and sounds much better with the low
B.

But I'd like to ask a bit more about the B on the instrument. The
engraving that led to Erich's design is too small for us to determine
whether there was a vent hole for the low C.

So perhaps Erich found when he carried it out that the design needed a
vent to make the low C satisfactory. But then, the obvious question is,
why doesn't that argument apply to the low B? Why, if serviced by a
key, wouldn't *that* need a vent? You said the low B was "perfect".

Or perhaps he put a vent in because he was following a precedent. There
is an instrument that looks just like the engraving: the Eisenbrandt C
basset clarinet. Does that have a vent? Does that vent make a low B
feasible?

Finally, how do you play the B? With your toe?-)

Toeknee
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE www.gmn.com/artists/welcome.asp
tel/fax 01865 553339

... To be intoxicated is to feel sophisticated, but not be able to say it.

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