 The Clarinet BBoard
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Author: Slippy Bal-dog
Date: 2005-04-14 20:12
Hello,
Its been real interesting going through all the posts on this board. I just started playing the clarinet a few months ago. Like a number of others here, I started late and play for fun. After a few months of tinkering around on my own and getting advice from friends, I found a teacher to study with.
My question is mostly academic as I'm still learning my scales and intervals and getting a decent tone out of it. While I like Pete Fountain, Benny Goodman, Artie Shaw, et. al, I really dig hearing the clarinet weaving through the trumpet and trombone lines. How does a clarinet player approach that style of playing? How does it differ from doing a solo?
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Author: jblock
Date: 2005-04-14 20:50
The clarinet really doesn't cut through playing with a lot of other horns, which is why you won't hear it weaving around brass that much. But having said that, I'd check out some of Benny Goodman's sextet recordings, where he does more than simply solo like he does over a big band. Buddy DeFranco does a little of this as well, but he mostly sits out when not soloing.
I'm originally a bass player and find approaching the clarinet from an accompianment standpoint of bass lines helps me, but you'll have to find your own way in time. Listen to what other horns do in a similar situation and apply to the clarinet. I find a lot of inspiration listening to Gerry Mulligan and how he interacts with horns. Particularly when there's no piano present, he does a lot of interesting lines to emulate a "comping" piano.
Good luck!
Jonathan
www.synthblock.com
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Author: ned
Date: 2005-04-15 03:26
''While I like Pete Fountain, Benny Goodman, Artie Shaw, et. al, I really dig hearing the clarinet weaving through the trumpet and trombone lines. How does a clarinet player approach that style of playing?''
Hey.... these are good white guys to listen to but check out the creole and black musicians native to New Orleans, for the authentic jazz style of playing [ie] Noone, Dodds, Lewis, Bigard, Nicholas and etc......etc..........
Most people posting to this BB cite Fountain, Shaw, Goodman et al..........but there's a another world (almost) of GREAT players for you to discover yet.
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Author: RodRubber
Date: 2005-04-15 04:46
Slippy,
The best way (IMO) to learn any style of improvised music, is to listen, and then transcribe or figure out what you are hearing. Learn to play it, play along with the recording, etc. Of great importance is the harmonic structure of the music. Not only learning the melody, but also understanding how it relates to the harmony is important.
When i was just a little clarinetist...i used to cut high school and sit around transcribing Wayne Shorter's sax solos from miles quintet albums. I also learned to play klezmer from listening to guys like naftule brandwein + shloimke Beckerman (or whatever)
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Author: Synonymous Botch
Date: 2005-04-15 21:32
A brief survey of "call and response" Gospel music should illuminate the ??
And I beg to differ about the Clarinet's ability to be heard... larger bore instruments can be downright PIERCing in tone.
Daedalus Books and Music has loads of cutouts to review now obscure players, mostly on the "Past Perfect" label.
George Lewis, 'Caledonia' is a genuine Nawlans stomp-off.
*******
For my own playing, I try to add embellishment only around the melody line, with a harmony lick as the main phrase peaks.
If the lead player is looking right at me - it's too loud.
If the lead keeps pattin' a foot and laying down, things are fine.
Try to remember that the audience will not hear the lower range of the instrument if the rest of your band is at mfz, or louder.
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Author: allencole
Date: 2005-04-16 13:37
Going back to some of the older recordings may help you get a clearer, simpler vision of how this works. Also look at 19th Century marches, which is where a lot of the structure comes from.
Also sample a wide variety of groups. Some play with and to each other, and some play AT each other.
We could spend paragraph after paragraph describing what goes on, but it wouldn't help you a tenth as much as some listening and transcription.
Allen Cole
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Author: ken
Date: 2005-04-17 12:59
If we're talking traditional, Dixieland and Creole swing-classics, the musical role of the clarinet "weaves" in and out of melodic phrases and primarily responsible for providing a counter melody and polyphony sound --- this is the essence of the New Orleans clarinet. It also embellishes the melody and forms the notes that make up a basic triad or chordal extension (I usually stay in my box and never venture beyond a 9). The music is ideally to be played by ear and not restricted to the written page. Instead, it's to be "heard" in the heart and mind. Example of period style: in traditional jazz, Louis Armstrong's approach to his solos are framed in tight harmonies (not unlike Chopin or Lizt). In modern and bop era jazz, soloists such as Charlie Parker used extended harmonies and more dissonance (similar to classical counterparts Ravel, Stravinsky and Schoenberg.)
The music generally has four main sources and influences: 1) ragtime 2) military brass bands 3) the blues 4) gospel music. If this is your genre of interest, traditional jazz is for the most part, toe-tapping, foot-stomping music. It's hot, earthy, emotional and intended for dancing and having a good time. It's played so the underlying tune is recognizable to the "untrained/casual listener".
Trad/Dixieland differs from modern jazz as modern jazz is more cerebral, abstract, cool and intended for serious listening. Its form uses underlying melodies not recognizable to the "untrained listener" and unharmonious elements that can be offensive. Bebop, falls under this flag and although a highly complex idiom has earned the reputation of being angry and self-indulgent music. The modern combo and bebop-style jazz form is generally playing the head followed by multiple choruses of solos from all players then back to the head and conclude the tune.
If you're serious about the trad/Dixie and ragtime end of jazz pick up a 3 cassette/CD educational set by Tex Wyndham (Dan Jazz Enterprises [16710 16th N.W. Seattle, WA 98177] (206) 546-1498.) These are a series of live clinics presented at jazz festivals. The recordings are entitled:
1. Just a Little While to Stay Here: A guide to Dixieland jazz
2. At the Jazz Band Ball: Sources of Dixieland jazz
3. A History of Ragtime
Allen speaks truth, we could go on one paragraph after another, you just have to jump in and start playing. Grab your clarinet and start transcribing favorite artist solos --- that is the beginning of building your ear, musical vocabulary and style. But, what I recommend the most with your jazz clarinet playing is developing and personalizing YOUR SOUND! That's simply (IMHO) the most important and indelible aspect and quality of music making ... period. It will also make the greatest impact and leave a memorable and lasting impression on your audience --- not the technique or equipment (i.e., your cool-looking melted coke bottle glass mouthpiece). Good Luck, and don't ever quit. v/r Ken
Post Edited (2005-04-17 20:39)
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Author: Slippy Bal-dog
Date: 2005-04-17 14:59
Thanks for the answers to my Q. I'd like to say though that I'm usually reading these forums at work when I can't practice the clarinet. Posting pages and pages of stuff might only help 1/10th of practice but that's 1/10th more than I would have otherwise.
I'm still learning about music so maybe in time it'll all make sense. I'll look into that 3 cd set.
I do a lot of 'call and response' with CD's that I have. Sometimes, I can even hit a few right notes. It's getting better as I learn my triads and some licks. I also have a play along CD that has only piano accompaniment. I'm also trying to transcribe the melody lines that a clarinetist plays. I'm sometimes able to do the main melody line with whatever embelishments. Once they start their improv, its usally beyond my ability.
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