Klarinet Archive - Posting 000822.txt from 2001/06
From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: [kl] Fw: [kl] Thumb and Wrist, Breathing, Print, Composing Problems.
Date: Mon, 25 Jun 2001 09:05:57 -0400
I can`t say that I`m getting many replies to my undermentioned post. Only
Jim Hobby so far: and his refers to 50 year old band music. YOU SEE, THE
PROBLEM IS STILL AROUND TODAY. Is it perhaps a subject which is not of
particular interest, perhaps "taboo"? Or do those of you who play in wind
bands just treat these difficult clarinet parts as a bit of fun, without
wanting to put too much effort into practising and playing them to the best
of your ability, <because> you know beforehand that there are going to be
several slip ups.
I really <would> like to get some responses from both amateur and pro
players. Perhaps Tony Pay has had some experience of wind band playing - the
London Symphonic Band? 1960`s with Les Williams at the helm? Two or three
LPs I think. I know certainly that Jack Brymer was on these sessions and
that he had a LOT to say about the clarinet parts. But I have to say,
(because I`ve seen them), that they are a lot more intelligently written
than some music I`ve seen recently. Because the arranger took the trouble to
learn what best suits the clarinet.
Let us defend our right to have good and intelligently written parts for us.
Let us be more vocal, not only to the conductor, but to the music writer
him/herself if there is some bad writing which needs to be changed. I`m sure
they will be grateful. If you bought a car, and if upon looking at the
manual to see that it`s <minimum> speed was in fact 80 miles per hour, you
would take it back wouldn`t you?
Please more responses from you all?
Best,
Tony W.
----- Original Message -----
From: "Tony Wakefield" <tony-wakefield@-----.net>
> 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?
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