Author: CL
Date: 2011-12-13 15:08
Hi there,
Just hoping to get some opinions on a transposition issue.
Firstly, is there any general consensus on what is more comfortable to deal with, for B flat clarinets, out of lots of flats or lots of sharps?
Secondly, specifically, this is my situation:
I have a piece that uses, pretty much exclusively, the following mode (concert pitch) - B, C#, D, E#, F# G#, A#. The key signature is given as three sharps (i.e. F#, C#, G#) as that is the closest I can get, and I have notated it on Sibelius which has no option for non-standard key signatures (and non-standard key signatures are a bit controversial with some players anyway, who find it easier to read a standard key signature with accidentals added). But obviously the piece is not in A major or F# minor. Anyway, I am currently transposing the part for Bass Clarinet in B flat, for the final score. It seems to me that I have three options:
1) Write it out exactly a tone higher, so that the notes used are:
C#, D#, E, F double#, G#, A#, B#. The key would be five sharps (C#, F#, G#, D# and A#), so my mode would result in the following accidentals throughout the Bass Clarinet part: F double sharp and B#. (This is what Sibelius does when I select 'Notes' > 'Transposing Score'.)
This has the advantage that it is 'true to' the mode of the piece, i.e. it is technically correct to think of F double# as the fourth degree of the scale, rather than as a flattened fifth degree, which is what replacing it with G naturals would imply. However, it has the disadvantage that double sharps are, perhaps, weird and uncommon, and it may make matters needlessly difficult for the player.
2) So, option 2 is the above, but with all F double#s changed to G natural accidentals.
3) Or, I could instead write the Bass Clarinet part so that the written mode is: D flat, E flat, F flat, G, A flat, B flat, C. The key would be four flats (B flat, E flat, A flat, D flat) so my mode would result in the following accidental throughout the Bass Clarinet part: F flat.
This has the advantage that it is both 'true to' the mode (we have seven different note names) and avoids any double accidentals, and only has one normal accidental. However, it has the disadvantage that the key signature that I would be giving it would not be a direct transposition of the actual key signature, and it seems a bit odd for the Bass Clarinet to be playing in flats when everyone else is in sharps.
This is part of a composition portfolio for a degree submission, so the score will be being read to be marked, rather than performed. For that reason, I am inclined at the moment towards option two as that would seem to make it a little easier for the markers to read (since the key signature is a direct transposition up a tone, and we remain in sharps) and it also takes the player's convenience into account by removing the F double sharp. (Both these things probably go in my favour in the eyes of the markers!) However, if I write a part in a transposition that would be an absolute nightmare for the Bass Clarinettist to play, that would be a definite black mark, no matter how convenient it might be for the markers to read.
So, what I want to know is: clarinet, and hopefully bass clarinet, players, as a performer, which of the above options, 1, 2 or 3, sounds most comfortable to you? Would any of them be definite a no-no, a total pain in the backside? And do you have any preference between flats and sharps? Is one type of accidental easier to work with because of key systems etc? (Sorry, I'm an ignorant string player...)
Many thanks for reading and hopefully offering some thoughts.
Chris
|
|
The Clarinet BBoard
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
