 The Clarinet BBoard
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Author: clarinetwife
Date: 2003-09-09 14:52
This question may be a little difficult to answer without the part in front of you, but I ask because there are folks on this board who have more orchestral experience than I 
The community orchestra I am in is playing the Polovetsian dances (that's how it is transliterated from the Russian on my part anyway). My question is: how 'bout all those horn changes from Bb to A and back again? I felt a bit disjointed about all the switches at rehearsal. Any advice on how to handle that? Or are there sections that people tend to transpose rather than switch? I'll have to make sure my mouthpiece cork is well greased an ready to move, that's for sure!
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Author: David Spiegelthal ★2017
Date: 2003-09-09 15:09
One suggestion is to switch (if you can) the combination of (mouthpiece + barrel) between the two clarinets, rather than just the mouthpiece --- reduces the probability of twisting your ligature out of position or off altogether at a critical moment. Or, if you have two good, comfortable mouthpieces such that you can have both the Bb and A clarinets fully-functional all the time, that's another option. If you go that route, Legere synthetic reeds, if you can get them to feel good and sound good for you (many folks can) will eliminate the problem of keeping cane reeds wet. I can't help you with the transposition question, I'm afraid.
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Author: William
Date: 2003-09-09 15:21
I recently played that work and do not remember any switches that were "impossible". What helps me make quick switches is using the same barrel (and mouthpiece) on both my A and Bb instruments--there is simply more to grab onto and less chance of disturbing the ligature/reed set up. Some players a different mpc (and reeds) for their A clarinet, but then you have the danger of the reed drying and becoming warped for that "big entrance" after the switch.
Often, if the switch to the other clarinet is for only a few measures, I simply transpose and eliminate the need to change instruments (and, perhaps, play *suddenly* out of tune)
Basically, you just have to be fast, know where to position your switched parts for optimum continued good intonation--and not drop anything or knock your music over (that always irritates conductors). Hope this helps.
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Author: D Dow
Date: 2003-09-09 16:22
Most conductors don't care whether or not you have a fast switch, so beware!
David Dow
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Author: clarinetwife
Date: 2003-09-09 16:55
D Dow wrote:
> Most conductors don't care whether or not you have a fast
> switch, so beware!
>
I have experienced this before! However, our conductor is a woodwind guy who also directs a lot of pit orchestras for productions around town, so he understands the issue. Actually, most of them aren't real quick switches, as William pointed out. There are just so many of them.
Sharing barrels has not worked with the A clarinets that I have used in the past, but I need to try it with my recently acquired, very own A ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif) Thanks for the reminder, all.
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Author: jules
Date: 2003-09-09 20:42
I would also recommend changing both the barrel and mouthpiece. It definately makes life easier for me, and is useful for quick changes.
Juliet
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Author: elmo lewis
Date: 2003-09-10 01:20
Changing the barrel and the mp is a must on this piece. I was also taught to play the Andantino -the Strangers in Paradise part- on the Bb ยด{its written for A}. This eliminates two instrument changes.
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Author: William
Date: 2003-09-10 01:38
One thing I forgot to mention--I use my A barrel on both my A & Bb when making the barrel'mpc quick switch. While tuning, I tune the A clarinet first, pulling mouthpiece as needed. Then I switch the barrel/mpc to the Bb and tune by pulling the barrel (leaving a gap) and leaving the mpc in place. So when you switch back to the A, the barrel goes on all the way. When switching back to the Bb, the barrel can be left the necessary distance out to bring the Bb down to A=440. The mpc stays in the same position for both the A and the Bb--it's the barrel that does the tuning for both when switching.
(its really not as complicated as I make it sound--just think it out)
(BTW, I have been told by accoustion Tom Ridenour that the gaps left by pulling the barrel or the mouthpiece (or both) do not adversly affect the accoustics of the clarinet)
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Author: pzaur
Date: 2003-09-10 05:17
I actually just played the principal part for this piece last year. I had a little difficulty switching back and forth until I practiced it a few times. The switches aren't terribly fast (unlike many pit orchestra manuevers), but they are just short enough to make ya feel rushed.
pat
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Author: quido
Date: 2003-09-10 13:59
I made this post in April of 2001, and here is a repost of it answering horn-switch situation.
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What you do is you keep a bucket of water next to your seat. For example when I was playing Mahler's first symphony I had to switch between B-Flat, A, C(if I had one) and Bass clarinets. With my bucket next to me when I wasn't playing one of the instruments I propped it upright but upside down in the bucket of water. With the entire mouthpiece(not to mention a good portion of the clarinet) immersed in water, you don't not need to worry about keeping your reed soaked. Make sure you prop it in a way that the tip of the reed is not touching the bucket, otherwise it may break. A handy trick for those who need to safely and quickly switch between various clarinets.
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I hope this helps!
<3
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Author: Ken Shaw ★2017
Date: 2003-09-10 15:07
Guido -
Tony Pay describes his method of dunking the mouthpiece into a small cup of water clipped to the stem of the stand. See:
http://www.woodwind.org/Databases/Logs/2001/10/000417.txt
http://www.woodwind.org/Databases/Logs/1999/01/001054.txt
The ideal solution would be to have two mouthpieces, one for each instrument. I think keeping the mouthpiece cap on the one you're not using would maintain sufficient dampness, particularly if you used, say, a longer alto sax mouthpiece cap with a dampened paper towel stuffed up in the top, using the extra space to keep it from touching the reed tip.
Unfortunately, I've never found a barrel that worked really well on both the Bb and A, and it's not for want of trying. Kalmen Opperman has done a lot of experimenting, but it's hopeless, at least on the Buffet R-13. The problem is the geometry. The longer length of the A requires a different barrel taper, even if the barrels are the same number of millimeters long.
If the mouthpiece switches came too fast for me at the conductor's chosen tempo, I would transpose some of them. If the transposition was too difficult to play a passage smoothly, I'd switch the barrel and mouthpiece, using the barrel that gave the best intonation.
The best solution may be The Doctor's artificial cork grease, which I use and which makes mouthpiece switching easy.
William -
Tom Ridenour is worth listening to, but there are contrary opinions. Bernard Portnoy, for one, believes that any gap at the bottom of the barrel spoils the tone, and, with his back turned, he could easily hear the difference between my playing with the barrel pulled out, with and without a tuning ring inserted. Steve Hartman, a super player, has had the gap in his middle joint filled in with a cork shim, though that's as much to prevent a wobble as for acoustical reasons. http://www.woodwind.org/Databases/Logs/2001/10/000093.txt .
My own feeling is that tuning rings create a repeatable position, so that you can be reliably in tune, and that there is at least a small improvement from filling in the gap.
Best regards.
Ken Shaw
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Author: quido
Date: 2003-09-11 02:20
I still think the bucket is a better idea.
It's cooler too.
And I'm still going to send you a tape so I can get a recording of the Bozza Concerto sometime =P
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Author: LeWhite
Date: 2003-09-11 02:38
I played the principal part for this last year too.
The solos, just before the choir comes in, can all be played on Bb, then later on you change (can't remember where exactly), and I don't think you need to change again for the rest of the piece, maybe once I believe. But I can't really remember!
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Author: David Spiegelthal ★2017
Date: 2003-09-11 14:27
All you orchestral clarinet players, what you have to do is switch to bass clarinet and avoid the whole problem (besides which you'll hardly ever have a part to play.....). Your only challenges will be reading bass clef and/or parts written for the nearly-nonexistent bass clarinet in A ---- but at least it's all done on one instrument.
We don't need no stinkin' tuning rings!
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Author: clarinetwife
Date: 2003-09-11 18:15
David--
I'm sure all the bass folks on this board would agree. However, the bass clarinet position in my orchestra is already taken--by my husband.
Ken Shaw, thanks for the great info, as usual.
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Author: Clarinetpunk
Date: 2003-09-11 19:08
We Played this in our orchestra last year, and it gets a little crazy with the switches. I just kept my mouthpiece well greased and kept focused.
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