Notation Q: bass Cl. versus "regular Cl."

[gandsnut]

My B.A. in K-12 Vocal/Choral Music Education 1977 from Millikin in Illinois DID NOT require I learn ANYTHING about band / symphonic instruments. Since 1990, I've used notation/sequencing software & MIDI devices to realize what I want to compose.

I've been an electric bassist most of my life, and have a special affinity for any of the lower-voiced instruments, i.e., bassoon, 'cello, contrabass, bass trombone/tuba. In 2016, I wrote this duet:

Duet for Bass Clarinet & Piano – GandSnut

(Score & audio are available there.)

From my research about the 1) transposing realities, and 2) composer considerations what/how to write music for any clarinet, things are starting to get complicated. I now understand how a composer can ask a clarinetist to switch from Bb to A clarinet in a piece - to avoid messy key signatures. OK, I get that. That's 2 regular clarinets.

But if I have regular AND bass clarinets in a composition, my research tells me I can't ask the same thing of a bass clarinetist; there is no "A bass clarinet". So in this recently published composition (on the MuseScore web platform), I'm asking perhaps TOO MUCH of a bass clarinetist to play in 6-sharps:

Orchestral Smörgåsbord - Number 1

Download and print in PDF or MIDI free sheet music of Orchestral Smörgåsbord - Number 1 - Are Jayem for Orchestral Smörgåsbord - Number 1 arranged by Are Jayem for Piano, Trombone, Flute, Oboe & more instruments (Mixed Ensemble)

musescore.com

(View score & listen during playback.)

I guess these are my concerns for right now. I appreciate all diplomatic feedback given.

 

[Carl H.]

I think you may have missed another aspect of performing on clarinet, there is a difference between music that is difficult to perform and music that is difficult to read. You should always shy away from writing music that is difficult to read as there is no reason for that.

I play a number of instruments, I'm primarily a string player though I went to school for single reeds and percussion. I also play electric bass. You might not be aware that when sax players are sitting in with "guitar" bands they spend most of the night playing in C# or F#. There is nothing inherently difficult about those keys, just lack of familiarity for most "legit" horn players. The music you shared with us is not particularly difficult, but the notation is a bit of a bugger to read through cold.

I played principal clarinet in a local orchestra for years and own Eb, C, Bb and A soprano clarinets. They each have a distinctive voice that composers write for. It's not just a cheat to make the reading easier as many of us can transpose on sight if we feel the instrument change isn't worth the effort or we are covering for a missing player. The cheat is transposing on sight for the horn in your hand and ignoring the instrument change called for in the part. In college I transposed a bass clarinet part to soprano as it was in the correct range and meant I didn't have to lug a bass on tour.

Bass clarinet in A does exist, but it is as rare as castrati tenors - there are things written for it, but would you volunteer to cover that part? Paid or not?

Bottom line, define the ensemble level you are writing for - high school, professional, beginner adult, whatever - and find a player to look at your composition. Double sharps are a fact of life in theater scores, but uncommon in legit ensembles. Find out where players have difficulty with your part and do your best to correct what can be done to clarify your intent.

 

[Mike M]

I am a bass clarinetist in a professional orchestra. Playing in six sharps happens more often than you think.
Looking at your piece (#1) the bass clarinet part is playable, however, some of the notated rhythms could be written more clearly.
It looks to me that the bass clarinet part is derived from a midi source. That being said, it may be rhythmically/harmonically correct however the way it is notated can be confusing. I have two excerpts (measures 46 & 47) attached; one original and one I revised. Both will sound the same but the revised one is easier to read rhythmically.... It's basic orchestration.

 

[Bari Sax Guy!]

Yes, there is no need for the double sharped F & C here, the pre-altered version defeated the purpose of double sharps, as he/she has to designate a # on the 2nd C (single sharp) which occurs later in the measure. The more compact measure is more readable, and the red ties are a nice touch.