 The Clarinet BBoard
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Author: studioline
Date: 2013-01-14 21:06
Quick question, are these scored for 2 clarinets and bass (three seperate parts) or is the 2nd clarinet/bass in one part? Also is the bass in Bb?
www.stuarteminson.com
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Author: cigleris
Date: 2013-01-14 21:19
Separate bass part, may well be in A and Bb, I don't remember
Peter Cigleris
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Author: Simon Aldrich
Date: 2013-01-14 22:13
As Peter wrote, separate bass part. I suspect some of the bass part is in A because I have a transposed bass part all in Bb.
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Author: Marij
Date: 2017-10-26 14:13
And up! (four years later..)
I just joined this board...
Urgently looking for a transposed A to Bb part of the Strauss Four last Songs
(in treble cleff would be really helpfull).
Anyone still around to help me?
Thanks a lot!
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Author: Simon Aldrich
Date: 2017-10-26 16:22
Hello Marij,
Welcome to the board.
I have a pdf of the bass clarinet part in Bb in treble clef for the Four Last Songs.
If you still need it, feel free to email me off-list. If you click on my name in this message (next to "author") you will see my email address.
Simon
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Author: Alfani070
Date: 2024-03-27 12:52
Hello! I have the exact same request as Marij. Simon, do you by any chance still have the score available?
Thanks in advance!
Alwin
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Author: Jarmo Hyvakko
Date: 2024-03-28 15:22
Anyway, If you are heard, you are propably playing too loud! One of the most awkward accompaniments i know.
Jarmo Hyvakko, Principal Clarinet, Tampere Philharmonic, Finland
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Author: dorjepismo ★2017
Date: 2024-03-29 09:09
Stuff's public domain now, and hence, on IMSLP. Frühling is in A and the rest are in Bb. Bass clef, seems to be written where it sounds. There are doubtless versions in treble clef and transposed, but the piece isn't especially difficult. Haven't played it, but heard it a lot, and belive that Jarmo is correct; it's not a big bass clarinet piece.
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Author: graham
Date: 2024-03-29 16:43
I have played this in two or three performances. To unpack Jarmo’s point about it being ‘awkward’: the blend of tones defines the overall tone, so you aren’t (save in one very short passage) explicitly audible. You may well not be audible to yourself. But you are part of what is audible, and its absence would be audible in many segments, and will be noticed by a good conductor. Any wrong notes are audible in a way they aren’t always in a loud tutti. Running out of air is the key enemy in this part.
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