 The Clarinet BBoard
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Author: karlbonner82
Date: 2010-05-16 08:58
I was wondering if contemporary composers (e.g. for movie and video-game soundtracks) use the A-clarinet as frequently as the classical composers did? There are a few reasons why they might not do so that I can think of: 1) they might not use the sharp-heavy keys as often as the classics did; 2) they may try to use clarinets less often when in the sharp keys; or 3) the clarinet parts are rarely so difficult as to render playing in awkward keys an ergonomic nightmare.
If any of the above three is true, it could explain why A-clarinet parts are less common, if in fact they are less common.
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Author: Simon Aldrich
Date: 2010-05-16 16:13
I do a fair bit of movie soundtracks (two days ago I did a soundtrack for a forthcoming Imax film).
Yes, A clarinets are less common in film soundtracks but not for any of the reasons you cited. With film scores, the composer hands the score to the copyist and the copyist feeds the parts into a program like Finale. This is often done at 4 am the morning before the session. In Finale the default setting for clarinet is Bb so all the parts come out in Bb. There are so many factors in a session (recording equipment not working, syncing sound with image, tight budget, ego clashes) I can assure you nobody is thinking about sharp-heavy keys or clarinet ergonomics.
One ends up playing in F# and B major a lot.
----------------------------------------------------
Simon Aldrich
Clarinet Faculty - McGill University
Principal Clarinet - Orchestre Metropolitain de Montreal
Principal Clarinet - Orchestre de l'Opera de Montreal
Artistic Director - Jeffery Summer Concerts
Clarinet - Nouvel Ensemble Moderne
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Author: Tobin
Date: 2010-05-16 16:30
Karl, throughout your posts in this area you seem to be placing a great deal of emphasis on the key signatures that you may be playing in. Why?
Generally speaking I don't think composers have any care as to what keys we have to navigate. They compose, we perform.
"they might not use the sharp-heavy keys as often as the classics did...they may try to use clarinets less often when in the sharp keys"
If the composer wants the clarinet sound then they compose for it. They don't think to themselves in the manner your statement infers. If they have the common sense to realize that it might be easier for us in Bb or A, then that's great.
" the clarinet parts are rarely so difficult as to render playing in awkward keys an ergonomic nightmare. "
The composer doesn't care whether their music is easy to perform. That is our problem, not theirs.
If your questions are still related as to what clarinet to purchase after a Bb, then the answer should depend on which clarinet you're most likely to have a need for, not what keys you may or may not play in.
James
Gnothi Seauton
Post Edited (2010-05-16 16:32)
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Author: Ed Palanker
Date: 2010-05-17 00:05
For sure if the score calls for the clarinet to play a low concert C#, Low E on the A clarinet, it will be scored for the A clarinet, if the copyist knows what's their doing. ESP http://eddiesclarinet.com
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Author: Lelia Loban ★2017
Date: 2010-05-17 13:02
>>Generally speaking I don't think composers have any care as to what keys we have to navigate. They compose, we perform.
>>
I think that's true, but when we see a new composition that makes life difficult for no good reason, I think composers will welcome suggestions. I know I do. I'm an amateur composer, not a professional, but I do think about making my music as playable as possible (within the limits of how I want it to sound). That's because in the real world, where musicians may not have enough rehearsal time and may not always be professionals with top skills, the more playable the music is, the better people will play it.
I want to hear the best performance possible, not just for aesthetic reasons but because a lousy performance makes me sound like a lousy composer. One way to make a good performance possible is to avoid setting up unnecessary obstacles. (Sometimes I do write difficult music, because it's the only way to get what I want to hear, but I try to write difficult music only for a musical reason, not by accident.) Therefore I do make a decision about clarinet in B-flat or A depending on the key of the piece. I have the impression (from what people on the Sibelius.com bulletin board write) that other composers think about these things, too, though the people who don't play transposing instruments themselves often don't understand the issue. By all means, explain it to them!
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: Tobin
Date: 2010-05-17 17:06
Lelia, I agree with you completely. When performing original works I've found composers to be wonderful to work with, often eager for the performer's input.
If you look back to original poster's thoughts, however, you'll see the point that I'm trying to make.
James
Gnothi Seauton
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Author: EEBaum
Date: 2010-05-17 17:27
I've worked with composers who are very accommodating and eager to get input (more often than not, this is the case), and I've also worked with composers who have little to no interest in performer issues and insist that they know what's best. Even with notational issues that do not change the content of the piece but could cut my practice time in half, I've met resistance.
Just about any composer will receive input from the performer. However, not all of them will act on it, with some doing the same thing I've commented against in pieces written after the advice was given. Which is their prerogative, just as it's my prerogative whether to answer their phone calls (usually depends on how full my plate is with other projects).
Whether someone writes for Bb or A tends to be pretty far down on my list of issues with a piece. Heck, I'm usually happy if they remembered to NOT put a key signature of 2 sharps on the clarinet part of their atonal piece.
-Alex
www.mostlydifferent.com
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