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Re:

Author: Buster
Date: 2011-12-05 00:52

Ned,

You must be talking about a different chart, or you have a funky arrangement. And I don't try to project myself as a "hell of a clarinet player" lest you misunderstand my intentions. All I know is that I've quite successfully played the solo many a time.

*Jelly Roll Morton's "Black Bottom Stomp" begins in Bb concert for starters. It's around 230 yes, but the famous solo from the '26 recording (Omer Simeon on clar.) is technically not that challenging. ----Those are eight's you're hearin'- not 16th's. A 2 beat double rhythm.

(That famous solo is centered around Eb concert as the chart has modulated for all of the solos. The chart strays back to Bb for moments, but does conclude in the modulated key)

The clarinet solo is actually fairly simply when you look at it. Extremely idiomatic to the instrument. Consists of alternating Bb7 (V7) ornamented arppegios and Eb a'rppgs.... (simple V7-I) speaking in concert pitch. (so... C7-F for the clar.)

It does have an extended iidim7-V7 turn-around near the end, which may throw some not accustomed to the style (2 bars of a-dim7 followed by Bb7): but the adim7 is a straight broken descending arpeggio. (or bdim7-C7 for the clarinet.)

(I know- technically not a ii-V, but it serves as one. The b serves as a modulation to a secondary tonic of C. This C then turns into C7 which serves as a modulation back to the key center of F. Remember music of this period drew heavily from classic period compositions. These kinds of relationships are quite commonplace. We call it a ii-V just for the sake of simplicity.)

Stylistically much more challenging than technically me thinks.

(We didn't have a banjo player for one performance so my friend tried to 'interpret' it on soprano sax.- That ate him alive.)

-Jason

Post Edited (2011-12-05 06:40)

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