 The Clarinet BBoard
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Author: musica
Date: 2007-03-04 13:28
Flower market Scene.... 3rd space C# to 2nd space A #.Thanks!
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Author: William
Date: 2007-03-04 14:27
Trill or Tremelo??? I seem to remember playing MFL and encountering a very awkward tremelo..........
Trill--all I can suggest trying is to hold the A# and trill the top rh side key.
Tremelo--play the A# R A 0XX/XXX rh C# switching alternately with the conventional C# TR XXX/XXX rh C#. If one bar line between the indicated note C# & A#, play as 8ths; if two bars, play as 16ths; if three bars, play as 32nds. Awkward but doable.
Or switch to your A clarinet and play D to B, trill or tremelo........(just a crazy thought) Seriously, perhaps you could transpose enough of the Bb part on your A clarinet to make a switch possible.
Maybe our fingering expert GBK will have some miraculous solution for this from His bag of tricks :>) GopheritGlenn.......
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Author: Chris P
Date: 2007-03-04 14:32
Shame you haven't got a full Boehm as this can be done relatively easily - play the A# as low Eb (with the speaker key open) and use the LH C# lever for the tremolo.
If you play throat Bb (A#) and use both the top trill keys together, you'll only get a Bb-C trill at the most.
If you can (and has been said), use an A clarinet to do a B-D tremolo which is a doddle - provided you can change to it in time.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: musica
Date: 2007-03-04 15:22
It's actually a tremelo... I may hope that the flute is doing the same...
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Author: Chris P
Date: 2007-03-04 15:37
Have you got an A clarinet you could use? In most shows they only specify Bb clarinet, but I usually rewrite some of it for A clarinet to get around awkard passages easier - I've been called a cheat for doing this, though I'd prefer to call it being resourceful. The whole point of clarinet playing to my mind is to make it as easy for yourself as you can - and if it means playing it on a Bb or A clarinet (or even a C clarinet) then there's no harm in doing so.
I've even had someone moan at me saying 'the A clarinet has a completely different sound' which is absolute bxxxxxxs.
If the flute or strings have the same, or you have one of those rehearsal pianists that plays EVERYTHING (and I mean EVERYTHING!), then you can always leave it out.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: William
Date: 2007-03-04 16:38
"or you have one of those rehearsal pianists that plays EVERYTHING (and I mean EVERYTHING!), then you can always leave it out."
LOL--You got that right!!! Around here (Madison, WI), we had a legendary rehearsal pianist who ccould play for hours, scene after scene and never miss a cue or note. She is lovely lady in her 80's and we affectionally called her, "Iron Fingers" McIntosh. She was always ready to fill it in if any musician was caught watching instead of playing.
Just to clarify (regarding some subsequent postings), our beloved "Iron Fingers" M never over-played the pit musician. She only filled in when parts were inadvertantly missing. As wonderful a person as she was a tasteful and tireless musician.
Post Edited (2007-03-06 14:34)
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Author: Chris P
Date: 2007-03-04 17:51
I just did West Side Story with a pianist that hammered out everything that he shouldn't have, doubling up on practically everything we were playing in the pit - when the strings were playing at ppp he was still hammering away.
He couldn't get the 'Baa-ba-bah, baa-ba-bah' syncopated bit right either but was told by the MD to leave that out. If only he left the 'Cha-Cha' for us on flutes as well, and various other bits.
One of the trumpets did mention wire cutters at one point - and if this piano was fitted with a mute mechanism, I definitely would have wedged it on given the chance.
There is another pianist around this way affectionally known as 'Concerto Ken'.
Sometimes less is definitely more.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Lisa
Date: 2007-03-06 02:51
"or you have one of those rehearsal pianists that plays EVERYTHING (and I mean EVERYTHING!), then you can always leave it out."
Oh, that brought back memories of playing the opening Act II to "Oliver" -- Oom Pah Pah. Now the finger-gymnastics clarinet part was just nasty on that, and our pianist would start to play everything I left out, to the point that I'd sometimes stand next to the podium (in a deep pit) to watch the dancing onstage instead! Oh well, nobody's perfect...
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