 The Clarinet BBoard
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Author: SueSmith
Date: 2005-06-11 22:32
Having never auditioned on Eb, are you required to have a D clarinet for the audition if certain works are required? Can you transpose Rite of Spring and Til Eulenspieglel at the audition - or will that incur a penalty?
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Author: msloss
Date: 2005-06-11 23:35
It would be highly unusual for somebody to show up with a D clarinet. The expectation is that you be able to transpose the parts on the fly.
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Author: clarinetboy333
Date: 2005-06-13 01:33
I play Eb and may get a chance to play this this coming year in an orchestra... would it be acceptable for me to get a transposed part and bring it in with me to rehearsal? My transposition skills may not be up to "on the fly".
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Author: msloss
Date: 2005-06-13 02:16
Certainly better to bring your cheat sheet and play it right than try to gut it out and mess it up. Still, it would be a very good skill to develop unless you like copying out parts (which actually is also a good skill to have).
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Author: msroboto
Date: 2005-06-13 03:41
Well what does copy out parts mean to you. To me it means putting it into Noteworthy or your favorite composing software and letting it transpose for you. Hard to see the "skill" in that.
I used it for a piece that someone thought would be fun in F# Major. I thought it would be even more fun on the A in G without so many incidentals.
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Author: msloss
Date: 2005-06-13 12:21
Even the best publishing software requires some skill to get the manuscript right. To get groups of notes barred correctly, articulations notated, dynamics marked, page turns put in the right place, etc. is a time-consuming and challenging process. Even notation scanning software (assuming you start with clean manuscript) requires hand-work to proof and correct.
I encourage my students to learn to sight-transpose because the skill pays dividends for a lifetime.
Feed a man a fish vs. teaching a man to fish...
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Author: Ken Shaw ★2017
Date: 2005-06-13 15:03
Sue -
Peter Hadcock's book on the Eb has all the audition material, plus the parts for Till Eulenspiegel and Rite of Spring written out for Eb. http://www.vcisinc.com/phosefctoc.jpg It's item C036 on Gary Van Cott's site, http://www.vcisinc.com/clarinetmusicexcerpts.htm and is absolutely essential for anyone who plays orchestral Eb.
Hadcock was the Eb player in the Boston Symphony for many years and, as far as I know, played everything on Eb. If he didn't need a D clarinet, I doubt that you'll be penalized for not having one. That said, Till is **much** more playable on the D clarinet, and there's a significant difference in tone. The problem, of course, is finding enough of them to pick out a good one.
Feed a man a fish and satisfy him for one day. Feed a man to a fish and stop his complaining forever. ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif)
Ken Shaw
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Author: DavidBlumberg
Date: 2005-06-13 15:45
Peter was a tragic story of a guy who quit the Boston Sym to be a Univ Professor so that he could pay for his kid's college education comfortably (the son was 5 at the time) and not have to worry about him being too old to play in the symphony when his son was college age. So he took the gig at Eastman around 1992.
It was a great plan except that he died the following year of a heart attack - the guy was in great shape too (muscle guy in his early 50's who rode motorcycles and lifted weights).
Was a huge loss and way too early.
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Author: SueSmith
Date: 2005-06-14 00:31
Hi Ken,
Yes, I do own the Hadcock book..actually both the Eb and Orchestral Clarinetist. I just wasn't sure what audition policies were concerning D clarinet parts transposed during an audition. But it seems that it is acceptable to transpose during an Eb audition.
Unfortunately, I do not have the spare cash to own either a C or D clarinet at this point in time, although the C clarinet could come in handy I suppose...
Thank you for your answer.
David - My question - Tom Martin was accepted into BSO in the mid 80's...I think 1984, but I may be very off on the year. Now, was Tom originally hired as Eb to replace Hadcock or was he hired as 2nd clarinet and moved up to Eb when Peter left in 1992? I thought Bill Hudgins was 2nd clarinet at the time of Harold Wrights death...so, I'm just confused as to who was where and when in that orchestra. Did Bill replace Tom who replaced Peter? Also, Julie Vaverka was playing for 4 years with BSO in the late 80's early 90's (I know she traveled with them to Prague after Harold Wright's death) That wind section is a soap opera!
Also, it is my understanding that the Eb gig in BSO pays quite a bit of cash - especially since Eb is Principle of the Boston Pops. So, I'm confused as to why leaving BSO for Eastman was such a huge pay raise. Also, why didn't he just teach at one of the local universities/colleges in Boston while performing with BSO? The only big names in teaching at the time were Bass clarinet for BSO (not sure if he was at NEC and BU) Harold Wright who was NEC and I think BU...and Ethan Sloan at BU. I don't know the dates of Richard Stoltzman teaching at NEC. But, certainly there should have been a spot at BU or Boston Conservatory for Mr. Hadcock?
Well, regardless if Mr. Hadcock had stayed at BSO, the orchestra would have lost two major players due to death in 1993. Very sad.
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Author: DavidBlumberg
Date: 2005-06-14 00:39
Bill got the Principal Job directly from the Charleston Sym where he and his wife Kathy were playing (I did the Marcellus Festival with Kathy back in 1988).
I don't think that leaving the BSO was a pay raise but it was more "long term" so that he could do it in his old age when he got there and the opening was at that time. That's what he said personally. One of my best friends was scheduled to study with Hadcock at Eastman for her Doctorate but he died right before they started.
Yes, Peter was previously at NEC and was one of the big teachers there (hey Mark + GBK, this is for you and our running joke "my brother-in-law studied with Hadcock at NEC for his undergrad" and was a very liked teacher.
really 
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Author: johng ★2017
Date: 2005-06-14 00:43
On the subject of Peter Hadcock and his book, "The Working Clarinetist" the clarinet community have a lot to be thankful for his widow, Aline, taking on the final publishing of the book. It is a most practical book and worth the cost.
Johng
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Author: vin
Date: 2005-06-14 03:05
Although not really well known outside the Boston area, Aline is a wonderful person and clarinetist. She is the reason we have this great book today.
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