 The Clarinet BBoard
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Author: Fuzzy
Date: 2017-02-27 21:25
The other day, I had the occasion to visit with a nice gentleman who had first picked up the clarinet about three years ago, and had been taking classical lessons from a great instructor here in town. As we were talking, he mentioned that he had quit playing about 1 1/2 years ago, but was ready to get started up again. He was interested in some music I had, and in offering to share it with him, (knowing that he was just getting back into playing) I mentioned that the four-part harmonies were nice and low - having no high notes. He let me know that high notes weren't a problem for him, that he was playing up to altissimo G, but that the A, B, and C above were difficult for him.
This conversation made me realize that I don't understand classical music enough to know why such high notes are expected from clarinet players, and I was hoping folks here could explain it to me.
For me (right now, lacking understanding), it would seem there are better tools in the toolbox if such high notes are needed (Eb Clarinet, flutes, piccolos, etc.) Expecting such tones from a Bb Soprano clarinet seems like using a crescent wrench as a hammer so-to-speak. It works...but why not use a hammer?
I've rarely heard clarinetists sustain such notes in tune with the larger group, and am just curious (given how much practice is required) what the idea is behind the use of these notes on the clarinet. Is it for the unique tonal color? Is it something only more modern music demands, or do many of the old standards require these notes too?
Just curious, and hoping for a better understanding.
Thanks!
Fuzzy
P.S. Caveat: I listen to a lot of jazz clarinet, and know a small handful of jazz clarinetists who are very proficient in the upper altissimo, but even then - even if it is one of my favorite musicians...the effect of the upper altissimo doesn't seem overly appealing to me. Most of the time, others in my household that love the artists tell me to turn such performances down/off because they can't stand the "screeching."
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Author: kdk ★2017
Date: 2017-02-27 21:43
In my experience, "classical" composers often don't expect beauty and clean intonation when they write exposed notes for a clarinet above, maybe, A6. They're looking for an effect that may include raucousness or roughness in the sound. You're right - if they want really beautiful, serene, ethereal-sounding notes in that range they'll choose a different instrument, although any instrument playing that high has to be played well to produce those qualities.
Those top notes don't need necessarily to be "screeching," though. They just aren't characteristic of the sound a clarinet generally makes lower.
Karl
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Author: ClarinetRobt
Date: 2017-02-28 01:59
Fuzzy, I'd focus on everything from A6 and below. Don't sweat the details on the C6, etc. Frankly they don't come up very often. Maybe you run into them .0001% of the time while playing. As you improve over the entire range of the clarinet, usually the super high stuff will fall into place and become easier with time.
I play a lot of marches these days and it's rare to see anything above G6, much less higher. If I did, I'd let the pic/effer have the octave and let them worry about intonation (a lot of times 1st clarinet has divided octave parts). I guess I'd treat those notes as an interesting academic study and practice, but I wouldn't kill myself trying to playing it on a performance (unless the part/octave was crucial). You're right...there are other instruments better suited for such craziness.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: Barry Vincent
Date: 2017-02-28 03:32
One Classical composer who has used the complete range of the Clarinet is Lous Spohr (Concerto 2 /Mov 1 goes up to top C) and a number of other high notes- B/Bb/A/Ab s as well throughout the 4 Concertos (# 4 is for A Clarinet) Even then , there is often an alterative (ossia) part written to avoid going so high.
Skyfacer
Post Edited (2017-02-28 03:34)
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Author: Fuzzy
Date: 2017-02-28 22:17
Thanks to everyone for their responses! It all makes a lot of sense.
Of course, there are exceptions to every rule (in a somewhat related thread, folks were speaking about Artie Shaw...and he's of course one of the exceptions. However, I never really heard Artie play a big, fat, chalumeau solo...so I guess it is just up to preference on where a person wants to put in the extra work?) Thinking along the lines of Sandor Benko on Petite Fleur https://www.youtube.com/watch?v=M9Gmmu2ligI or Tim Laughlin on Louisiana Fairytale.https://youtu.be/fYKFE86hb9A (not the best YouTube transfer, but still worth a listen).
Thanks again!
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Author: fskelley
Date: 2017-03-01 03:34
I have a series of my own gospel arrangements that include a smattering of C7's (double high C) and even more of the few notes just below it. Most are just the top of an arpeggiated chord, some more important than others. But if I try to play them and they don't work, it comes off wimpy- very unsatisfying. So I have to bat near 100% on them, so long as I include them. For some years now I've been at something of an impasse- unwilling to rewrite my arrangements without these top notes, and yet reluctant to seek places to play these songs because they have not been reliable enough. I hope recent changes have solved this for me, maybe.
But in answer to your question, yes- those high notes can be very important to a performer / arranger / composer. Most of my life I've concentrated on piano (also gospel and pop) and I can tell you- a 76 key piano is no good (I had another word here but it's vulgar). Sure, you may hardly ever play the very top or bottom keys, but when you want to (you NEED to)- and can't- the music suffers. I hauled around an 88 key digital piano for years for this very reason- 76 would have saved me space in the car and pounds of dead weight.
Stan in Orlando
EWI 4000S with modifications
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