Klarinet Archive - Posting 000038.txt from 2008/05
From: "Daniel Leeson" <dnleeson@-----.net>
Subj: RE: [kl] Shameless Plug Reflux, oops, I mean Redux
Date: Fri, 09 May 2008 13:20:54 -0400
Lelia, I very much agree with you about the ranges for which the b.c.
provides the most satisfactory aspect of its timbre.
But the Gubaydulina cello concerto has the b.c. well above its high C for a
variety of exposed solo passages. Damn near killed me to master them.
And one of the several arrangements of Rosenkavalier for orchestra has the
bass clainet playing the basset horn part, and that frequently goes well
above the high C. It's a dumb arrangement but you may have to play it some
day.
So every b.c. player is likely to have a nightmare come when everything is
way, way up high. But one still has to do it.
Dan Leeson
-----Original Message-----
From: Lelia Loban [mailto:lelialoban@-----.net]
Sent: Friday, May 09, 2008 10:11 AM
To: klarinet@-----.org
Subject: [kl] Shameless Plug Reflux, oops, I mean Redux
Rien Stein wrote,
>>I followed your link and listened to "Fibonacci's Dance". After that I
looked intensely at the score, but I wonder why you consider it so very
difficult? >>
Most of the difficulties are with the notes above the staff. I've seen some
comments here and on the Klarinet bulletin board from bass clarinet players
who think that composers should never write above the staff (some say we
should never write above the chalumeau register) for bass clarinets. In
general, I agree that music sounds best when it's written to take advantage
of an instrument's best qualities, but I also think there's a constant need
for some pieces that a student or auditioner can use to demonstrate mastery
of the whole range. (I started writing the first draft of this piece for
that 2006 competition at the bass clarinet festival in Oslo, by the way,
where the winning composition would be played by the bass clarinet
competitors, but I didn't finish in time to enter--so that's why this music
was originally designed as a competition piece.) You mention that your bass
clarinet performs better than average above the staff:
>>Mine is a bass from Frères Martin, and probably has been built in 1896. It
has a nice sound, comparable to the Leblanc, but speaking much easier when
playing above the "g" on top of the staff. Mechanically however it poses
more difficulties, as its keys are less easily located on the instrument.
>>
>>But your work sound good over internet and after we are back from a short
vacation in what once was called Eastern Germany to celebrate a friend's
birthday, I will put it on the stand. I'll let you know!
>>
Thanks, Rien. I'm still learning to compose and I'm interested in knowing
people's opinions, whether positive or negative.
Another potential challenge with "Fibonacci's Dance" is that some of the
passages require breath control that I'd only expect from an adult. In the
USA, typically a student will begin learning bass clarinet at about age 11
or 12 (the level we call middle school or junior high school). Someone that
young, even with several years of experience and good skills on soprano
clarinet, might not have the wind for parts of this piece on bass clarinet.
If it turns out that the piece seems easier to you and others than I've
expected, then I can revise the suggested performance level. However, my
experience has been that younger players are likely try a piece they think
might be a challenge, then take pride in learning it, while experienced
players won't even bother with something they expect will be beneath their
dignity because it's labelled for students--therefore, when in doubt, I
overestimate the difficulties!
Lelia Loban
http://members.sibeliusmusic.com/Lelia_Loban
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