Klarinet Archive - Posting 000733.txt from 2001/06

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: Re: [kl] Thumb and Wrist, Breathing, Print, Composing Problems.
Date: Sat, 23 Jun 2001 09:26:31 -0400

Thanks for your responses. I originally saw the clarinet part to the last
movement of Year of the Dragon, and it seems as tho` you all seem to have
latched on to Dance Movements in view of Blake`s mention. I have indeed not
seen the clarinet part to Dance Movements, but would like to invite comments
and comparisons with YOTD. I would be very interested if any clarinettists`
on these recording sessions were to honestly inform me (us) that every
single note was played by every single player. And if not, what was done to
make these passages playable.

I believe that the modern wind band is not, and should not be likened to the
old style of Military Band. The writing has become much more ambitious in
the wind band, and that is a very good thing. The wind band nowadays can
indeed have serious comparisons to the symphony orchestra. It perhaps may
have overtaken the S.O. in that more music is being composed for this
combination of instruments than for the S.O. But whilst this has happened,
I am seeing that old fashioned ideas of orchestration are still prevalent,
in so far as some writers still hang onto the "idea" that the clarinet
section is "THE" most important section in a wind band. I believe that this
is not so anymore. The clarinet section is but <one>, amongst many <equally>
important sections in this musical environment. But as this attitude
prevails somewhat, I am coming across parts which have the clarinets running
very fast 16`ths for ever and ever all over the page without any
consideration to where the player needs to breathe.
Certainly in YOTD, in addition, there is a most gruesome passage which runs
Eb,Db,C,Eb,Db,C. in clarinet reg. which guarantees to tie fingers in knots.
Even with L.H. Eb keys.

Now I`m told by the composer that that is done deliberately, so as to enable
the players to "sort" what they consider to be the best way is, in
performance. I say this is a cop out. The composer does in fact NOT do this
to the brass. There may be a few high notes on trumpets, but not every
trumpet player is expected to get them, as is every clarinettist with their
fast 16`ths. There is a very balanced kind of orchestration in other
sections, so why should not the composer give more respect to the clarinets
when orchestrating wild passages. Especially as the wind band movement is
almost wholly amateur. Or is the composer only looking for the big "ego
trip", being only interested in hearing this slavish, if brilliant,
interpretations of his/her music played by College and Service bands?

I say there is a better way. I say that the composer himself should
understand how to write intelligently for clarinets. Not to merely leave it
to section leaders to re-arrange what should have been done in the first
place by the composer.

One could argue that that is the way it has always been, and this is the way
<we> the writers will continue. I say there <IS> a better way. What about
your voices guys? Are you content with writers who cannot see their way to
treating the clarinet section with a little more respect and understanding?

Best,

Tony W.
(Regards to J. Shouryu Nohe)

----- Original Message -----
From: "Shouryunus Sarcasticii" <jnohe@-----.Edu>

> On Fri, 22 Jun 2001, Blake Arrington wrote:
>
> > This will blow your mind.....if you get a chance to listen to the UNT
Wind
> > Symphony recording of the Sparke, just bear in mind that the coda to the
end
> > of the last movement(starting when the bass clarinets and low reeds
start
> > the furious 16th note stuff) is all one take. It was the last take of
an 8
> > hour day and was absolutely nailed.
>
> Actually, I've heard that recording as well, and I was duly
> impressed...although (and this is me speaking as a bass clarinetist) I
> liked the USAF Band recording just a hair better because the bass clarinet
> sound is just a hair more prominent. *grin*
>
> Still, the UNT recording is an excellent standard to live up to.
>
> J. Shouryu Nohe

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