 The Clarinet BBoard
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Author: bill28099
Date: 2008-02-26 20:48
I've got a couple of questions on the bass clarinet part of this opera. First, in Act 1 half way between 30 and 31 there is the following written
In SIb (se in TONO)
In LA (se TRASPORTO)
I assume that here, since I'm playing a bass in Bb I do not transpose
Now at 35 there is the following
IN TONO (in LA)
and here I assume I transpose by putting a flat in front of everything
However, in Act III at 15 the music is split into two lines. The top one is labled In LA IN TONO and the bottom In SIb TRASPORTO however the difference between the two is NOT just a half step down, i.e., the top line is written in the key of F major and the bottom in the key of Eb major. Hence, an F on the top line becomes Eb on the bottom. Why is this so?
A great teacher gives you answers to questions
you don't even know you should ask.
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Author: Jack Kissinger
Date: 2008-02-26 21:02
We just did some arias from La Boheme.
In SIb (se in TONO) [In Bb if as written] Use a Bb (bass) clarinet if the singer is singing in the written key
In LA (se TRASPORTO) [In A if transposed) Use an A (bass) clarinet if the singer is transposing
Apparently the singer has the option of taking things down a half-step if the aria is uncomfortably high, as written.
In TONO (in La) The singer is instructed to sing in the score's pitch (transposing is presumably not an option) but the clarinet parts are for A (bass) clarinet
Same thing for the third act. The split parts give the the singer (or, perhaps, conductor) the option of which (concert) key the aria will be performed in. The lower line is not simply a transposed version of the upper line for the clarinetist's benefit.
Best regards,
jnk
Post Edited (2008-02-26 23:58)
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