 The Clarinet BBoard
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Author: John Morton
Date: 2003-12-26 20:55
I am putting in time on the bass clarinet, and am also interested in the contra alto and contra bass. My angle is that of the jazz player who might play from leadsheets or charts intended for other instruments, and hopefully also from scores I would write myself.
My question: what are the conventions for notation of the various bass woodwinds? I include bass, contra alto and contra bass clarinets (which I might hope to play) and tenor, baritone and bass saxophones (whose parts I might wish to read). The heart of the matter is, who uses bass clef? The heart of the heart of the matter is, should _I_ learn it?
I realize there may be a formal standard for each instrument, but I suspect that for practical reasons one might choose to (for example) write a contra bass part in treble clef and play it two octaves down. A soprano player picking up the contra bass would surely appreciate not having to contend with the bass clef!
Thanks for sharing your experience ...
John
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Author: allencole
Date: 2003-12-26 21:28
Music for bass clarinet is the same transposition as tenor sax or baritone horn--in treble clef up a major ninth from actual sounding pitch.
Music for contrabass clarinet is notated in treble clef up 2 octaves and a whole step from actual sounding pitch. (presumably the same transposition as bass sax)
Music for contra-alto clarinet is the same transposition as for bari sax. Transposed in treble clef up an octave and a major sixth above actual sounded pitch. Note that you can read music loco from bass clef by mentally replacing it with a treble clef and adding 3 sharps/subtracting 3 flats from the concert key signature.
As for bass clef: If you are a jazz player or intend to arrange, you MUST know bass clef if for no other reason than efficient score reading. It takes a while to get comfortable with it, but this will come with time. I often sight-transpose on bass clarinet from hymnals, or bassoon, tuba, or cello music. If you are in a college, perhaps you could form a chamber group for the purpose of building these skills. I'm sure some of your colleagues--particularly other reed players--may feel a similar need.
Allen Cole
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Author: allencole
Date: 2003-12-26 21:42
Add'l note on bass clarinet transposition.
When confronted with concert key bass clef music you can add 2 sharps/subtract 2 flats, and try to imagine a treble clef on the page and a bari sax in your hands. This only serves for the bottom register, however. After spending some time doing this with a woodwind quintet, though, I've found that my fingers are adapting to this. It actually seems much easier and less confusing than trying to transpose from concert pitch in the more familiar treble clef.
If confronted with tenor clef (middle C is the 4th line), just add your 2 sharps/subtract your 2 flats and read the music loco as if treble clef.
Allen Cole
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Author: John Morton
Date: 2003-12-27 15:38
Thanks, Allen, for your comprehensive answer. What you describe is confirmed by Finale, which supplies treble staves for most bass winds but switches to bass clef when asked to "display in concert pitch". I will take your advice to heart about reading bass clef in scores, but I am relieved to learn that as a player my soprano fingerings will map to the conventions for written parts. I hope fate provides me with opportunities to write for and perform with these marvelous instruments.
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