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Klarinet Archive - Posting 000300.txt from 2002/06

From: Neil Leupold <>
Subj: [kl] Bill & Neil's Excellent Adventure
Date: Sun, 9 Jun 2002 12:00:18 -0400

--- William Wright <> wrote:

> (If you knew what I had to do this afternoon, you'd understand why.)

I insist on knowing why (i.e., I'm a nosey little bugger)! ;-) What did
you have to do this afternoon? (Reply offline if the memory brings you to

> I'm looking at a duet score with the Bb clarinet part written in two
> sharps, and the piano part written in C major.

> The clarinet starts out with C4 F/16 G/16 B/16 C/16 D/4 E/4 in measure
> 1, and E/2 in measure 2.

Despite the fact that you indicated Bb clarinet, I'll assume these notes
are in concert pitch, in order to match your original indication of how the
piece begins. Or, if you'll permit, we can indeed just do the whole thing
in concert pitch, both piano and clarinet, and transpose the clarinet part
to Bb later. The opening *written* notes for Bb clarinet would be D, G, A,
C#, D, E, F#, F#. That second note, the concert F, grates with the F# in
my D chord, but I suppose there have been less auspicious beginnings to
a collaborative piece (piece of what, you ask).

> 1/4-note @-----.

Okay, so no Allegro con brio. Moderato it is.

> The composition's title is "Bill and Neil Get Serious Online".

Subtitle: I'll think of a subtitle later...

> The piano starts out with (as you already posted) 1/2-note D ---
> henceforth written as "D/2" --- on the 3rd line of the bass clef, and
> D/2 on the space below the first line of the treble clef, and the
> remainder of the D major chord (F#/2 and A/2) stacked above that.

Okay, it'll be a half-note chord, no pedal tone. I wish I had a piano and
could actually play it (i.e., I don't play piano), but this will all be on
sight, with as much help as I can garner from my inner ear (and those under-
graduate theory classes I took twelve years ago). Brace yourself. "I'm a
clarinetist, not a composer Jim!"

I need to get going on my Sunday, so I'll just assemble the first bar of
piano accompaniment. It's a lot harder to think up material for the piano
without the melody already available, so I'll write the second bar at a
later point (i.e., don't expect a new bar every day -- I have a regular
job, you know). You can continue with your single-line nomenclature.
I'll adapt it to SATB voice leading, as if writing a four-part chorale,
in order to facilitate easy notation of each line of piano music.

S: A/2 (second space from bottom in treble staff), followed by four de-
scending 16ths on beat 3: D (fourth line up), C, B, G. Fourth beat:
B/4 (middle line).

A: F#/2 below the soprano A/2, G/4 on beat 3. Fourth beat: eighth-note
triplet F-natural, E, F-natural.

T: D/2 above middle C, B/4 immediately below that, G/4 immed. below that.

B: D/2 (middle line of bass staff), G/8, F-natural/8, a leap down to
G/4 (bottom space).

Next bar (first beat; more to come...):

S: C/2 (middle space treble staff)

A: G/2 (2nd line from bottom)

T: G/2 (top space bass staff)

B: C/4 (second space up), E/4 immed. above.

Stay tuned (as it were)...


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