 The Clarinet BBoard
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Author: wjk
Date: 2002-07-11 03:39
I've been listening to Paul Desmond's albums with guitarist Jim Hall and am amazed at Desmond's tone and improvisational acumen. Any hints on transcribing alto sax solos for clarinet?
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Author: diz
Date: 2002-07-11 04:14
There is a slight tonal discrepancy to my way of thinking, nevertheless - it would be (in theory) a simple matter of transposing "down" a perfect fifth (sax in E flat, clarinet in B flat). The instruments' respective ranges is quite compatible, really, much more simple "range" adaptation that from say a tenor sax to a clarinet.
If you use Finale, Mosaic, Sibelius or the like, it becomes a VERY simple matter. If you need any further help, let me know.
diz, sydney
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Author: Mike Cohen
Date: 2002-07-11 04:57
Desmond use to describe his tonal concept as trying to sound like a "dry martini". I don't think there is a better way to describe him! Although he was gifted with great fingers, he rarely chose to use them. Instead, he chose to develop ideas sometimes simple sometimes quite complex. The key to his playing is that there always seems to be be a thread of some sort which unified the whole solo.
as for transcribing, as someone who has transcribed tenor sax solos on alto, piano solos on sax etc I would suggest learning the solo first by listening. After listening to the point of saturation, you should be able to sing the solo. Once you are this familiar with it begin learning it on your instrument and putting it on paper. Remember the notes are only part of the transcription. Get all the nuances of his tounging and vibrato. The idea isn't to be able to spit the solo back note for note (although that is a start) but to internalize it and begin incorporating these things into your playing. Good luck
Mike
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Author: Synonymous Botch
Date: 2002-07-11 11:51
It's especially nice to find room left for the audience in Paul's
stuff. I especially like 'Take Five', a concept expanded apon by Bela Fleck in 'Almost Twelve'... unusual meter can hold attention if the tune can be followed.
If you dig PD, check out Gerry Mulligan's 'Line for Lyons' which also left some space between notes.
I believe the songbook of each artist is available through some of the Retail sponsors of this website.
Ah, transpostion! Remember, you're never more than 1/2 step off!
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Author: David Spiegelthal
Date: 2002-07-11 13:57
Also check out clarinettist Bill Smith's work with Brubeck's group --- I believe Smith essentially took over Desmond's role in that group, so you'll hear some 'Desmond' tunes played on clarinet by Smith.
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Author: Don Berger
Date: 2002-07-11 15:17
I'm sure glad to read the above fine discussions, esp. Mike Cohen's and S B's of one of our greatest [innovative] sax players. Take Five is certainly his legacy. {Wish I knew what mp he used!!} Even in our comm. band, we had exposure to the "5 beat" in a combo-big band arrangement of it, as usual, for me, it was a "pay attention" , dont let it go into a 6 beat rhythm!! As I recall there is a number in "Once Upon a Mattress" in 5's, a "duet" between bass cl and flute [as we played it] fun but tough!! Re: transposition [VG, Diz], because the cl's chalemeau and the alto's lower register finger very much the same, I read it directly. But when it goes up to the cl's throats and clarion, if the key signature isn't too "far-out", if I concentrate, I can read it, otherwise, trans. is a dern good idea. I'd suggest a very wide lay mp for simulating the sound and note bending of an alto. Yes Brubeck, Mulligan and others improved our jazz concepts. Don
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Author: Don Berger
Date: 2002-07-11 15:43
Many TKS, GBK, its now a Favorite-Place, will use the wide variety of info mainly on alto!! Don
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Author: E. Michael Blake
Date: 2002-07-11 16:18
I don't recall hearing that Bill Smith worked with Brubeck after Desmond's death, but Smith did work with Brubeck in the late 40s, in the octet Dave assembled, generally with fellow Mills College students studying under Darius Milhaud (including Desmond and Cal Tjader, among others). Last year at the Chicago jazz festival, Brubeck assembled a new octet to revive the material from that era (which had to be transcribed from recordings, because no sheet music had survived). The new octet was based on Brubeck's current quartet (with Bobby Militello on alto sax), with the addition of some local players, plus one member of the original group--Bill Smith, brought in from the bay area, said to be still active, mainly in classical ensembles. What a treat. The original octet's recordings are available on CD, by the by; I picked it up a few days after the festival.
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Author: DougR
Date: 2002-07-11 20:57
there IS a Paul Desmond website--I don't remember what it is, but you'll find it if you type Paul Desmond into your search engine--and there are a number of sax players/educators who include some transcriptions of his solos (I'll check thru my junk & see if I can come up with the links). I too am steeped in Desmond's sound & conception, and it's enriched my playing enormously. Mosaic put out a boxed set years ago of the complete Paul Desmond/Jim Hall sessions, and I can't imagine life without it.
Also: I can't think of a single clarinet player who has (or had) Desmond's gift for lyricism and melodic phrasing. Can anybody else?
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