 The Clarinet BBoard
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Author: Don Poulsen
Date: 2002-07-19 14:17
In the <i>Raymond Overture</i>, the clarinets and bass clarinets (me) have a section in 6/8 where the measures contains two dotted quarter notes. Each dotted quarter note has two bars through the stem and a "6" written under the note. The obvious interpretation is that we are supposed to play the notes as six sixteenths or twelve notes per measure. This may be possible on a violin, but on clarinet it is virtually impossible. When our conductor noticed that the clarinets were tonguing only half this fast (six notes per measure), he suggested that the notes be trilled instead to get closer to the intended effect.
Comments? Opinions? Would flutter tonguing be more appropriate? How have others handled this?
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Author: William
Date: 2002-07-19 17:52
You might try to learn double and triple tonguing skills--necessity being the mother of....you know!!
Double--TaKa TaKa TaKa etc
Triple--TaTaKa TaTaKa TaTaKa etc
Another "old musicians" solution to the problem of repeated notes--alla violin technique--is to trill to the note a whole step below, even if it is a discordant note. I learned this technique from a wonderful old conductor in Myrtle Beach, SC.
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Author: ken
Date: 2002-07-20 00:21
Don, I'm not familiar with the Raymond Overture but after writing out the measure for myself as defined (not knowing tempo) I’d surmise you're playing in a concert band, at a pretty zippy tempo, in 2 (not 6) and the work is likely an orchestral transcription or close arrangement. If so, I’d first suggest consulting the original score (hopefully not condensed) and/or representative recording for interpretation and covered string part. On Bb bass, it’s probably a cello part (maybe viola) and the clarinets doubling the violins.
If there’s "no tie" into beat 2 all notes will be tongued, the value of the stems on the dotted 1/4s are essentially metered “sextuplets”. If your conductor wants the dotted 1/4s executed as trills that's fine, it would simplify things but obviously not close to the ink or what the composer/arranger intended. If you ultimately substitute trills they should be played all articulated and as “even sextuplets". That means counting the exact number of trills...3 per beat per sextuplet and then played up a half or whole step remaining in the key signature. Also, if this figure is in unison/octaves with other sections (especially the clarinets) everyone should decide on a common/best method play them ALL together for ensemble continuity. That includes contras (if any), saxophones (tenor and bari), double reeds, horns and euph.
Solutions: If up to the task, “slap tonguing” the downbeats would get the job done or at least simulate proper rhythm. I wouldn’t recommend flutter tonguing as the dotted 1/4s run the risk of not being articulated/attacked correctly (especially if accented), might speak late or uneven, come out sounding muddy or beat 2 played late or undistinguishable.
Another quick fix might be "alternating rhythms"...(NOT playing it all together) a useful technique and “slight of hand”. For instance, divide everyone up in 3 equal parts on respective stands/sections. 1/3 play “straight 8ths”, 1/3 play “triplets” and 1/3 who can negotiate the part have at it. v/r KEN
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Author: Burt
Date: 2002-07-20 14:03
I second Ken's suggestion of dividing up the notes, so that you are collectively playing all six. This worked for me in a similar selection in "William Tell Overture". If you're the only one playing a given pitch, you may just have to leave out pre-selected notes.
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Author: ron b
Date: 2002-07-20 17:16
Who's in charge of your outfit, Don?
My opinion is that you do as your conductor asks you to do.
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Author: Don Poulsen
Date: 2002-07-22 14:10
Thanks for the advice. I wasn't intending to do other than what the conductor wanted. My intention was if I saw something here that would work better, I might suggest it to him and the principal clarinetist (who is assistant conductor). I'll reread the posts and decide if I want to bring anything up to them.
In response to a couple of Ken's comments, although it wasn't explicitly stated, to my recollection, I believe it was implicitly understood that the trills were to be articulated as exact sextuplets as you suggest. Your assumptions as to what I left unstated were pretty close. The 6/8 is played in two and, if I recall correctly, is at a speed somewhere near 120 bpm. And I believe that no other section other than clarinets (soprano, bass, etc.) has this figure.
I had hoped that someone else on the board had played this piece and could tell me how their ensemble handled it.
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