 The Clarinet BBoard
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Author: clrntmaestro
Date: 2016-05-11 06:04
Attachment: Brindisi - Clarinet.pdf (74k)
Hi,
I was given this Clarinet in C part for Verdi's La Traviata Brindisi today, and I have to play this by tomorrow too!!
I have never played a Clarinet in C part before and I wanted to ask how I would transpose it for Clarinet in Bb or Clarinet in A.
The part it self has 2 flats in the key signature (Bb & Eb). And the melody starts on the note F on the second space in the staff.
How do I go by transposing this for my Bb clarinet or A clarinet? Please help explain and also what note would I then start on?
I have attached the pdf of this piece.. if anyone can help transpose this, that would be very very very helpful!
Thank you!
M Lai
Post Edited (2016-05-11 06:07)
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Author: Wes
Date: 2016-05-11 06:23
Play the F first note as a G on your Bb clarinet, one step higher than the written C part. It can move along quite fast, as I recently found out, playing the oboe part in a concert at the You Tube Building in Culver City, CA. Don't use the A clarinet for this as it would be too difficult. Good luck!
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Author: Philip Caron
Date: 2016-05-11 06:32
For a Bb clarinet, transpose the notes up a full step. The first note is printed F; play G. The key signature is printed Bb; play key of C.
For an A clarinet, transpose the notes up a minor third. The first note is printed F; play Ab. The key signature is printed Bb; play key of Db.
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Author: sfalexi
Date: 2016-05-11 07:07
Add two sharps to the key signature, and play every note one step up (for example, when you see a written Bb, you'll play a C. If there's a written B-natural, you'll have to play a C#)
Transposing that key won't be bad, it's the accidental that are gonna get ya!
And if it's by tomorrow, I would just write down anything you can foresee as a mistake. For example, if there's a written G#, and you don't think you'll remember while playing tomorrow to play it as an A#, just write "A#" above the note.
One days preparation does NOT give you the chance to "learn" it. So just write down anything you think you might need to know by tomorrow.
Alexi
US Army Japan Band
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Author: Luuk ★2017
Date: 2016-05-11 19:05
Write it out in the way described above, for Bb: all notes one note higher, no key signature. To write this one and a half page out should take no more than one hour.
Safer than live transposing.
Regards,
Luuk
Philips Symphonic Band
The Netherlands
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Author: Tobin
Date: 2016-05-11 22:16
If you perform the whole opera, as I'm doing this weekend, writing all the C parts out isn't really an option. Two thirds of the opera is in C.
I agree with the advice above -- transposing to Bb clarinet as described.
In context, however, from the Prelude to no 1 and then the Brindisi -- I'm playing it on the A clarinet. Add 3 flats, read the notes as if in bass clef.
James
Gnothi Seauton
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Author: brycon
Date: 2016-05-11 22:29
I always use clefs to do transposition (when I'm looking at the music and not transposing by ear)--clef transposition seems to be pretty standard among keyboardists and conductors that do score reductions, and it's what's taught in most conservatories. If you're alto clef is good, transposing into C isn't too bad.
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Author: John Peacock
Date: 2016-05-12 11:56
Regarding "play every note one step up", here is a practical tip: just look at the top of each dot, rather than the middle. The top of the dot is in the right place for the note that you need to finger. This makes transposing C clarinet onto a Bb somewhat easier than onto an A. You still need pre-planning with odd accidentals, however - believing that E# has to be fingered as G takes a little getting used to....
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Author: Tobin
Date: 2016-05-12 16:10
If your transposition is based on key signatures, the E# will be an FX. While that's not much better -- it can be anticipated because you were in F#major (or F#minor) in C part...adding two sharps to that key signature was making a tough key worse.
All the trouble I've had sight-transposing from the rental edition I've been given comes from all the extra marks (some in pen!!!) from previous performers. In addition to inconsistent and inaccurate courtesy accidentals.
James
Gnothi Seauton
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Author: kdk
Date: 2016-05-12 17:30
Tobin wrote:
> All the trouble I've had sight-transposing from the rental
> edition I've been given comes from all the extra marks (some in
> pen!!!) from previous performers. In addition to inconsistent
> and inaccurate courtesy accidentals.
>
Yes, this is a valid point. It might be best for players who want to write extensively to aid transposition (or anything else) - some parts I've gotten have letter names over every note - to make a photocopy and put the markings on that. Apart from making life easier both for themselves and other players who either have C clarinets or don't need as much note prompting when they sight-transpose, they'll also benefit from being able to keep the annotated photocopy for future use if they ever play the piece again.
As for marking things in ink - that was such a no-no when I was in school that you could have ended paying for a replacement part if you did it. Almost every rental part I've used has a big warning stamped on it about marking lightly in pencil and erasing before returning the part. I know the erasing part is routinely ignored, but I can't imagine what players' rationale is for marking things in ink. (Sorry, this may end up side-tracking the original point of the thread, but it's relevant for players who mark transposed note names directly on the music).
Karl
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Author: Tobin
Date: 2016-05-12 19:32
Attachment: image.jpeg (1920k)
This is the part I received. The paste-in Bb transposition (into F# major) is "official". A handwritten photo copy of the paste-in for A is...on the back inside of the folder.
Quality.
Gnothi Seauton
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