 The Clarinet BBoard
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Author: Aaron
Date: 2001-03-25 21:37
So many times i go to concerts of college and orchestras and hear the little devil that we know as the Eb. So many times I hear something that drives me crazy. No it's not the intonation of the Eb player(it's the violins) anyway......it's soomething that I wanted to get everyones opinion on. THe Eb I find some players trying their darndest to get it to sound like a Bb clarient. Trying to get the same tone color and lyrical qualities. While this may be tried i feel that the Eb should have it's own character. As every different clarinet should have. The clarion register of the bass should have it's own character and not sound like a Bb. I just find that all too often that everyone wants all their clarinets to sound like their Bb.
The Eb has it's own playful childlikeness to it's qualities and character. Nad then for something like the solo in Daphnis and Chloie a more commanding presence.
I just want everyone's conscept on what they think of each instrument having it's own character, at least in an orcheatral situation
Do you agree or disagree with having the Eb sound like a Bb clarinet or having it's own qualities???
Aaron
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Author: Alphie
Date: 2001-03-25 23:10
I think it depends on what music you are playing.
I played Also Sprach Zarathustra last week where the Eb part is very integrated together with the rest of the section, just higher. This goes for most of Strauss use of the Eb.
Mahler is a completely different matter, so is Schostacovich. They make use of the edgy sound that a Eb can produce.
In Schoenberg, again, the Eb parts are very mellow and beautiful sounding.
To me it would be wrong to make use of the Eb's sharp sounding qualities in his music.
It's all a matter of style and taste.
Alphie
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Author: deejay
Date: 2001-03-26 00:38
Eb clarinets are awsome.. there so cool. I want to play one in band, but we don't even have enough clarinet for anyone to play it. The sound very cool.
deejay
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Author: Robin
Date: 2001-03-26 02:10
I think what is important is flexibility. You can't have a blanket rule for how an instrument is supposed to sound. Surely if one played a scale on an E flat clarinet with perfect response, great intonation, full round sound (ie. all those qualities which most of us seek on any instrument) the sound wouldn't differ much from the B flat clarinet. I don't have any problem with this and it is indeed rare to hear. I would argue that the instrument's differing character comes from the music which is written for it. That doesn't mean we need to make the E flat sound perky, or brittle, or flippant all of the time - just when and where it's required. I think the poor reputation of the E flat come from the fact that most people have only heard the instrument in the well known "perky" solos and not sounding like what it is - just a high clarinet. I would like to hear more E flat players who can control the beast enough to make it sound more mellow - like a B flat clarinet.
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Author: Keil
Date: 2001-03-27 20:37
OH me me me!!! Robin you've spoken to my heart!! that is my ultimate goal... I pride myself in the beauty of sound i create on the Eb clarinet!! I stay away from the raucousness of the instrument and try, through beautification of the musical line, to convey the fullness and depth of the instrument. In response to deejay, many clarinetist, those who've never played it, look at it as something cute and so wonderful to play, unfortunately in band settings very very rarely do you get the chance to play the pieces which really show off the fullness of the Eb, most of the time your part doubles the 1st Bb part but with more resting... A LOT MORE!!! However in an orchestral setting things are different, sometimes... either the Eb isn't used at all or it is but the part is killer... Although, and now i'm rambling, i was fortunate enough to play the Bb and Eb solos in Ravel's Bolero and i must say that was one of the best music making experiences i've ever had on the Eb..... as a matter of fact i'm looking forward to the future in which composers will compose concertos particularly for the Eb with the emphasis on showing off it's beauty as well as virtuosity!!! YAY!!!
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Author: Blake
Date: 2001-04-05 15:08
The poor maligned Effer....I agree with lots that's been said...If i'm filling out the Bb part and taking up the high end of runs etc in band then i try to not make it as strident as I would in a solo passage. Ive always tried to make my effer sound "bird like" and playful rather than a screech owl <G> although when i march with the Effer <ive always loved the lyre on the bell LOL> i play out since Bb can hardly ever be heard in marching bands. Ive also noticed that the Effer besides being a devil intonation wise is actually easier for somethings than the Bb such as articulation. the other challenge for me is to work on getting the throat tones in the clarion clearer and to not overblow the chalemeau to try and get it to sound like a Bb's.. it wont. I played a couple of Eb solos in high school for competition and the adjudicators just put their pencils down and laughed the whole way through.. I got the highest marks.. but they were amuzed by it. That left a lasting impression on me that the Eb more than anything else added some "sparkle" to the clarinet section in a band and leave the mellow tones to the others in the family. I also find that keeping my tuner handy for long high passages helps me from incurring the rath of the director <like the 8 measure altissimo D in Hoe Down from Rodeo/Copland>
Enjoy! Blake
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