 The Clarinet BBoard
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Author: Jack Kissinger
Date: 2014-07-02 19:11
Ricardo should know better than to pick up any old bum off the streets to play duets with! ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif)
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Author: Johan H Nilsson
Date: 2014-07-03 00:36
Looked fun!
Morales plays with an 68 mm barrel says David in the comments.
Good news for me because I thought I might be doing something wrong when I need a 67,5-68 mm barrel to get in tune (using M30 and V12 3). I am in good company!
Post Edited (2014-07-03 00:37)
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Author: MartyMagnini
Date: 2014-07-03 00:48
David,
You sound very good, and Ricardo sounds amazing on his Legere. Take that, all you Legere naysayers! 
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Author: Paul Aviles
Date: 2014-07-04 21:02
So we are saying that Mr. Morales WAS using a Legere reed in this performance?
..............Paul Aviles
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Author: Paul Aviles
Date: 2014-07-04 23:30
Could you share what Cut, Stength and relative mouthpiece opening Mr. Morales has been using for the past year and a half?
................Paul Aviles
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Author: DavidBlumberg
Date: 2014-07-06 03:06
Backup L and C (more L) Mouthpiece with the Legere Signature #4.5 or 4
Big, big thing is to have ZERO slippage of the reed on the Mouthpiece. Many ligatures don't secure the reed well enough to hold it still, and that will ruin response, etc.
http://www.SkypeClarinetLessons.com
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Author: DavidBlumberg
Date: 2014-07-06 18:38
We both were playing the Grenadilla Moba that day. He alternates between his Coco (his favorite) and his Grenadilla (my favorite).
Now that I have a Lomax Case, I'm not worried about my Clarinet's dimensions changing, so I'm getting a Coco A Clarinet.
That case is air tight, and humidity/temperature controlled
http://www.SkypeClarinetLessons.com
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Author: kdk
Date: 2014-07-06 18:44
DavidBlumberg wrote:
>
> That case is air tight, and humidity/temperature controlled
>
Until you open it.
Karl
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Author: donald
Date: 2014-07-07 14:25
What interests me is that you don't do the "poco ritard" in bar 39. I have always found this marking uncomfortable- and the none of the recordings I own of this work take any notice of it either. BUT I always end up performing this with colleagues who INSIST on performing these 7 bars at a "meno mosso" tempo I just never feel works musically, though I never want to upset the apple cart and argue about this. (I usually opt to play 2nd for this one, I don't think I've ever played the 1st part).
It seems to be an "authentic" marking rather than added later by an editor, is it considered "normal" to ignore this marking? (I am not criticising this fun little jam, just asking because I'm interesting in finding supporting evidence for my instinct!)
Incidentally, the pianist I've done this piece with most often has written out a piano version of the extra bars of intro in the orchestrated version. This makes the opening much more effective (just my opinion), but also much easier to perform.
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Author: Phurster
Date: 2014-07-08 06:02
Two fantastic players. i'd love to hear it when you had the time to rehearse.
Ricardo seems a little more distant, is that a mike placement issue or does he aim to play that bit softer?
The cadenza in the first movement always seems to me to be a bit of an anti climax. Any thoughts about adding an improvisation?
Greats sounds on the MoBas.
Chris.
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Author: gsurosey
Date: 2015-10-03 20:45
What arrangement did you guys use for this? Was it the two-clarinet arrangement that's on IMSLP? Is there another 2-clarinet arrangement available?
I ask because I'm playing this with a friend in my studio and found out that we don't have the same arrangement. I was given the clarinet part from the clarinet-basset horn arrangement and she was given the Clarinet II part from the 2-clarinet arrangement on IMSLP. Basically, we're trying to find a way for her to not play all the high stuff at the end where the voices cross (she's not comfortable playing up that high), and we have to find out which one of us is going to have to start practicing a new part (though it will probably be me). When comparing the parts, there are places where we are playing in unison that we shouldn't be because of the different arrangements. I was going to transpose the basset horn part for her in Finale, but that wouldn't work because some things would be out of range.
Suggestions?
----------
Rachel
Clarinet Stash:
Bb/A: Buffet R13
Eb: Bundy
Bass: Royal Global Max
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