E-flat Clarinet

E-flat Clarinet

E-flat Clarinet range

This is the smallest clarinet in common use.  Its high pitched squeal is well-known in both the band and orchestral literature.  Early band composers utilized the small E-flat Clarinet (as well as the now extinct high F Clarinet) as a staple of their writing.  One needs only to look at Berlioz’s Funeral and Triumphal Symphony to see how he constantly uses the E-flat Clarinet as one of the main melody instruments.  Continue reading “E-flat Clarinet”

Clarinets Part 3 – Clarinets in the Band

Clarinets in the Band

            The clarinet family takes up the most real estate on the band stand.  The original idea in band scoring was to have the clarinets replace the orchestras’ strings, but this arrangement to my ears has never once worked.  I feel modern bandestrators should rethink this scenario.  Instead think of the clarinets as simply another choir, albeit a considerably larger one, within the woodwind section.

Over the years, many different arrangements for the clarinet section have been tried.  A section from a large band in the late 1800s might have looked like this:

1 A-flat Clarinet

2 E-flat Clarinets

24 B-flat Clarinets

2 Alto Clarinets

2 Bass Clarinets

We can see that this arrangement was skewed towards the higher end.  As bands evolved, the A-flat Clarinet part was dropped, but little else changed.  Then around the 1950s the Alto Clarinet and the E-flat Clarinet started to disappear, but the contra clarinets were starting to make their appearance.  By this time the section would have looked like this –

1 E-flat Clarinet

12 B-flat Clarinets

2 Bass Clarinets

1 Contra Clarinet (Contra-Alto or Contrabass – but not both)

This is very similar to the arrangement we have today.  Of the mighty family of clarinets, we now only see four members.

I want us to start thinking creatively though.  We have this mass of players (16 in the scenario I gave).  Why not use them in more interesting ways?  Throughout the individual instrument descriptions, I alluded to the fact that many of these instruments can and should be used in a band setting.  I hereby present a more interesting and more well-balanced clarinet section.

2 E-flat Clarinets (one possibly doubling on A-flat)

2 C Clarinets

4 B-flat Clarinets

2 A Clarinets

2 F Alto Clarinets

2 Bass Clarinets

1 Contra-Alto Clarinet

1 Contrabass Clarinet

In this arrangement, we have the same sixteen players, but as we can see the diversity is double what we had before.  We now have eight different sizes of clarinet and eight different timbral possibilities.  The mass of B-flat Clarinets is now reduced to four instruments.  This will have the added benefit for the player of now being an important part of a small group as opposed to being a neglected member of an undefined mass.  The division into parts for C, B-flat, and A instruments is a decision wholly based on bandestrational possibilities.  Our C Clarinets can carry the traditional first part while the A Clarinets can carry the traditional bottom (third or fourth part), but more importantly, each of these three groups of soprano clarinets can function as an independent group.  Think of quirky, happy passages on the Cs, while we have serious and melancholy passages played on the As.  The two E-flats and 2 Cs can team up for a high quartet just as Mahler does in his 1st Symphony (3rd movement, Klezmer sections).  The A Clarinets paired with the F Alto Clarinets can form a somber quartet of deep passion.  On the bottom end, instead of having only three players in two ranges to support the sound, we now have six players in three (or four) ranges.  This powerful low end is something I have yet to experience from a band.  Only now, with our more perfect solution, can the clarinet family even begin to approach the orchestra’s strings.  Think of dividing each part into multiple parts.  For instance, 1st and 2nd F Alto Clarinet and 1st and 2nd Bass Clarinet.  This can give far more delicate textures.  Powerful unisons can be had by having the whole section in octaves.  I am getting excited just writing this section!  The possibilities are staggering!

Saint-Saens’ Danse Macabre for clarinet choir (appears to use E-Flat, B-flat, E-flat Alto, Bass, and Contrabass Clarinets).  Note, there is only one each of the Alto, Bass, and Contrabass Clarinets.  These poor three players are having to over blow to make up for the ill proportioned group.  However, the lone E-flat player is heard clearly.

Vivaldi’s Summer for clarinet octet (1 E-flat (=B-flat), 3 B-flats, 1 E-flat Alto, 2 Basses, 1 Contrabass).  See how different the balance is with a full low end.

Libertango for 2 B-flats, F Alto, and Bass.  Again note the equal balance of the parts.  This makes the 16 B-flat clarinets in the Danse Macabre video seem extraneous.

Young Person’s Guide to the Clarinet Choir – E-flat, B-flat, F Alto, E-flat Alto, Bass, and Contrabass

Clarinets – Introduction

Clarinets

Introduction

As I begin to write this introduction, I have my old B-flat Clarinet in my hands.  I just gave it a few good blows to reacquaint myself with its sound.  In the band world, the clarinet is the most commonly heard sound there is.  There are more clarinets in the band than there are any other instruments.  I was the favorite instrument of Mozart, and has had huge popularity ever since.  The clarinet comes in more sizes than any other woodwinds.  Were I so inclined, I could readily purchase clarinets in nearly every key of a diatonic scale (A-flat, G, E-flat, D, C, B-flat, A, G, F, E-flat – yes, clarinets exist in every single one of those keys!).

It is possible to think of the clarinet family as we would the taxonomy of living species.  The genus Clarinet has many species, and several of those species have further subspecies.  Just as in wildlife, the true taxonomy of some of these beasts is debated.  Many of these species and subspecies, again like our wildlife, are in danger of going extinct (and six members of the family already have expired). Genus – Clarinet

A rather curious way of looking at musical instruments, I’m sure, but it does give us the breadth of the family.  Each “subspecies” is a valid instrument in its own right and has a unique voice.  In the traditional band setting we used only those instruments pitched either in E-flat or B-flat.  Instruments that fell outside of these pitch classes were excluded (though many were and are still used in orchestras).

The Complete family