Darcy James Argue wrote, and quoted his orchestra manager:
> For those interested in the outcome,
> I got this email from the producer:
> > Go ahead and score the woodwinds as
> > you think best for the music. We'll
> > get it done no matter. If later it
> > seems 'practical' to revise, then
For those interested in the outcome, I got this email from the producer:
Darcy:
Go ahead and score the woodwinds as you think best for the music.
We'll get it done no matter. If later it seems 'practical' to revise,
then you can do so. Let's go for it!
[big grin]
- Darcy
-
[EMAIL PROTECTE
On another subject, there are two types of basset horns. The Leblanc model,
which seems to be the preferred version among the best players such as
Dennis Smylie in NYC, has a large bore and is played with an alto clarinet
mouthpiece.
___
The situation is
On Friday, June 13, 2003, at 09:37 AM, Andrew Stiller wrote:
On Thursday, June 12, 2003, at 04:57 PM, Andrew Stiller wrote:
Of course, I also think all orchl. music before Mahler shd. be
played with the violin sections sitting opposite each other,
Not just *before* Mahler* but *including* Mahl
Andrew Stiller wrote:
Oh dear. Do you really think 18th-c. players (not 17th, NB) of the
2nd Brandenburg Concerto would be "amazed at the virtuosity" of
today's trumpeters? Rather the reverse, I should think. "They need
*valves*? What wimps!"
I was talking about all instruments, not just the trum
Uh, Andrew, we're in the 21st Century, not the 17th.I think Bach would have
been amazed at the virtuosity of today's musicians.
Ronald M. Krentzman
Oh dear. Do you really think 18th-c. players (not 17th, NB) of the
2nd Brandenburg Concerto would be "amazed at the virtuosity" of
today's trumpeters
Tim Thompson wrote:
Yeah, that too! And then there is the fraction of a percent who enjoy the
Eb alto...:-) [meaning clarinet]
There's been past discussion of this on the Bandchat list, and a
good many directors don't think the instrument is worth the trouble.
My feeling is otherwise. Those w
Leopold Stokowski had a few things to say on this subject:
>The tone of the French horn goes to the right of the player and downward.
>From the tuba - exactly the opposite. The tone travels to the left of the
>player and upwards. from the violin the tone goes upward. If the first and
>second fiddl
You mean the alto clarinet wasn't invented just so failed Bb clarinet
players would have something to play in band class? ;-)
I love having a full clarinet choir available (wish I had one in my
community band right now!) from Eb through normal 1st, 2nd, 3rd Bb, ALTO
and Bass clarinet. I'ld lo
When somebody got the foolish notion that the direction the violin is
facing actually impacts the sound the audience hears.
In the opposites seating, the 2nd violins are facing the rear of the
stage, so if you hold with the directional-sound bit, it would be
counterproductive to seat them that
Andrew Stiller wrote:
Just remember this: the often-demanding flute, recorder, oboe, and
oboe da caccia parts in all (well, most) of Bach's Leipzig cantatas
were written for a single pair of woodwind players who were expected
to perform on every treble woodwind at the highest professional
standard
"Extreme doubling" is becoming increasingly common in the jazz
world. I know several first-rate saxophone players in New York who
have not just the standard doubles (flute and clarinet) but oboe and
English horn as well. No, Charles Pillow wouldn't win the audition
for the English Horn chair
Curiously, our orchestra almost always plays Mahler with opposing violin sections, and
when we do it is for the whole concert. But we almost never do it for anything else.
> -Original Message-
> From: Andrew Stiller [mailto:[EMAIL PROTECTED]
>
> Of course, I also think all orchl. music b
On Thursday, June 12, 2003, at 04:57 PM, Andrew Stiller wrote:
Of course, I also think all orchl. music before Mahler shd. be played
with the violin sections sitting opposite each other,
Not just *before* Mahler* but *including* Mahler, too, right? Zander
does it this way for his Mahler record
On Thursday, June 12, 2003, at 04:29 PM, Andrew Stiller wrote:
I deal most often with pickup orchestras, so I don't have to deal
with the first chairs agreements. But I know that if I ask a first
trumpet to pick up a piccolo trumpet, then I risk having him crack
the delicate solo in the next n
I deal most often with pickup orchestras, so I don't have to deal
with the first chairs agreements. But I know that if I ask a first
trumpet to pick up a piccolo trumpet, then I risk having him crack
the delicate solo in the next number, so I put it on second trumpet
(or third if I have one). T
Tim Thompson wrote:
Yeah, that too! And then there is the fraction of a percent who enjoy the
Eb alto...:-) [meaning clarinet]
There's been past discussion of this on the Bandchat list, and a good
many directors don't think the instrument is worth the trouble. My
feeling is otherwise. Those
ic Preparation
-Original Message-
From: Tim Thompson [mailto:[EMAIL PROTECTED]
Sent: Thursday, June 12, 2003 1:53 PM
To: Ronald M. Krentzman
Cc: finale list
Subject: Re: [Finale] Doubling for Pops Orchestra Wind Players
Yeah, that too! And then there is the fraction of a percent who enj
Preparation
>
>
>
> -Original Message-
> From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
> Behalf Of Tim Thompson
> Sent: Thursday, June 12, 2003 12:28 PM
> To: finale list
> Subject: Re: [Finale] Doubling for Pops Orchestra Wind Players
>
> And I don't
Please don't generalize. Some of us prefer Eb to Bass!
Ronald M. Krentzman
R&M Music Preparation
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Behalf Of Tim Thompson
Sent: Thursday, June 12, 2003 12:28 PM
To: finale list
Subject: Re: [Finale] Doubling
On 6/12/03 8:18 AM, "Andrew Stiller" <[EMAIL PROTECTED]> wrote:
> As a clarinettist and bassoonist I can testify that this is hooey. I
> have played professionally on every size of clarinet from Ab piccolo
> to contrabass; it takes about 30 minutes to master any one of these
> if you play the regul
On this orchestration topic, I just noticed that the current online edition
of NewMusicBox (www.newmusicbox.org) focuses on the orchestra and issues
concerning composing for it.
Tim
On 6/12/03 12:19 AM, "John Howell" <[EMAIL PROTECTED]> wrote:
>> Okay,
>>
>> In the pops orchestra project I'm cu
Andrew said:
> What this is really about is turf protection. The first desk player
> plays only one size not as a musically necessary requirement, but as
> a mark of status. I regard this as grotesquely unprofessional--maybe
> a cynic would say "grotesquely professional," I don't know. I do know
>
Andrew stiller wrote:
As a clarinetist and bassoonist I can testify that this is hooey. I
have played professionally on every size of clarinet from Ab piccolo
to contrabass; it takes about 30 minutes to master any one of these
if you play the regular clarinet well, and once you have mastered
them
At 8:18 AM -0400 6/12/03, Andrew Stiller wrote:
As a clarinettist and bassoonist I can testify that this is hooey. I
have played professionally on every size of clarinet from Ab piccolo
to contrabass; it takes about 30 minutes to master any one of these
if you play the regular clarinet well, and
At 10:16 PM -0400 6/11/03, Darcy James Argue wrote:
Okay,
In the pops orchestra project I'm currently working on, there's a
piece I'm arranging where I'd like to use a lot of low wind
instruments. I mean, a lot. The winds are 3/3/3/3. If I could get
away with it, I would probably want three
The parts may all be fingered alike, but every instrument in a
family is a different instrument, and it will only be played WELL by
someone who has put considerable time and effort into mastering it.
Bass clarinet is NOT just a big soprano clarinet, and a soprano
clarinetist holding a bass cla
On Thursday, June 12, 2003, at 12:19 AM, John Howell wrote:
That's the long answer.
Thanks, John. Good stuff, very helpful.
The short answer is that sure, you can ask for what you want, but I'd
suggest exploring the potential problems carefully before you commit
yourself to doing so. You men
Okay,
In the pops orchestra project I'm currently working on, there's a
piece I'm arranging where I'd like to use a lot of low wind
instruments. I mean, a lot. The winds are 3/3/3/3. If I could get
away with it, I would probably want three contrabassoons and three
contrabass clarinets. Or
On Wednesday, June 11, 2003, at 10:58 PM, James O'Briant wrote:
IMHO ("In My Humble Opinion"), you an write for whatever combination of
instruments you want to . But the chances of it ever being performed
will be reduced to near zero.
Well, I'm not writing this on a lark. It *will* be performed
Darcy James Argue wrote, in part:
> ... there's a piece I'm arranging where
> I'd like to use a lot of low wind
> instruments. ... I would probably want
> three contrabassoons and three contrabass
> clarinets. Or maybe a contrabass clarinet,
> a contra-alto clarinet, and a bass clarinet. .
Darcy, I'm a bass clarinetist, and I would ask the contractor about this
orchestra's specifics, since it will vary greatly between orchestras. I
think you can count on 2 bass clarinets (2nd and 3rd player) but in some
cities contrabass clarinets may be hard to locate. 1st-chair players might
resis
32 matches
Mail list logo
