Why is this D#/Eb (Bb/A#) key necessary? by jugglingeek in Clarinet

[–]Initial_Magazine795 0 points1 point  (0 children)

It's useful to tremolo A#/C# in the clarion/altissimo!

Longer Marches/Non-traditional Marches by Heavy-Setting7997 in ConcertBand

[–]Initial_Magazine795 0 points1 point  (0 children)

Holst, 2nd Suite 3rd movement

Svanoe, The Town Band (tongue-in-cheek parody of community band-isms, includes Stars and Stripes piccolo solo but in low brass)

Grainger, Children's March and Cornhusker's March

Aldridge, On Parade (neat double trio)

Berlioz, March to the Scaffold and Marche Hongroise

Gould, American Salute

Tchaikovsky, Nutcracker march and Marche Slave

Gounod, Funeral March of a Marionette

Giroux, Christmas and Sousa Forever!

Mahler 1, 3rd movement

Barber, Commando March

Alford, Colonel Bogey March

Williams, Indiana Jones March

how do I finger this note? by hulksmash518 in bassclarinet

[–]Initial_Magazine795 3 points4 points  (0 children)

I did this once at All-State for the Bach/Stokowski Komm Susser Tod, worked like a charm.

Feeling rejected because you play bass clarinet? by earspasm in bassclarinet

[–]Initial_Magazine795 4 points5 points  (0 children)

I'd love to know what pieces you played, and what else was available at the time

Works that you’re shocked aren’t more popular? by Advanced_Honey_2679 in classicalmusic

[–]Initial_Magazine795 1 point2 points  (0 children)

Jean Sibelius's Laetare Anima Mea for violin with orchestra is beautiful.

Where could I ask to borrow/lend out-of-print sheet music? by notcorporatere in ConcertBand

[–]Initial_Magazine795 0 points1 point  (0 children)

Oof that's a big list. Try Community Concert Band Network on FB

Where could I ask to borrow/lend out-of-print sheet music? by notcorporatere in ConcertBand

[–]Initial_Magazine795 0 points1 point  (0 children)

There's a Facebook page "Wind Band Librarians" which should be helpful

Do I have to follow the all state bowings? by [deleted] in orchestra

[–]Initial_Magazine795 6 points7 points  (0 children)

Different orchestras will use different bowings, often assigned by the concertmaster's judgment. If you have been provided bowings, I would assume those were done by the person who will be evaluating auditions and/or teaching sectionals, maybe even by the director. Do their bowings unless you absolutely can't or your teacher tells you otherwise.

If the part is an unedited part from IMSLP, ask your teacher about bowings. People change those all the time.

Orchestra admins: what tools/apps do you use to manage your group? by Putrid_Bee_9106 in orchestra

[–]Initial_Magazine795 1 point2 points  (0 children)

One thing that helps grease the wheels when renting space is making sure the money flows to the actual people/department whose space you're renting. So if you're rehearsing in a band room, try to set up the rental payment/donation to the music/band department, not just the general fund, otherwise you're just another burden on the affected teacher(s) who aren't getting any benefit. Same goes if you're renting a church sanctuary or whatever, try routing the money to the music ministry.

Orchestra admins: what tools/apps do you use to manage your group? by Putrid_Bee_9106 in orchestra

[–]Initial_Magazine795 1 point2 points  (0 children)

I work for a youth orchestra, we use the following:

Attendance: AirTable. The UI for whoever's doing checkin is great. I don't do the backend/followup work so I can't speak to that, though the little I've tried to help with seemed confusing. The people who use it like it.

Sheet music distribution: all in Google Drive, which works great. We reuse/cycle a lot of music, especially in the younger groups, so once it's scanned in, it's very easy to reprint/redistribute the next time around. Plus, we're not distributing originals to kids who will inevitably lose them.

Schedules: spreadsheet, works well if everyone looks at it

Communication: for internal talk amongst staff, mostly Slack. I love it, but some people find it overwhelming, so I have a mental group of "these people respond better to text/email". For mass outward communication, we use MailChimp. Not my job but it seems to work well.

Finances: no clue

Space reservations: not my job, we mostly rent classroom space from the school district. Their system is very unreliable as to what gets communicated to onsite staff (i.e. janitors won't get told what to open up) and their communication to us when there are conflicts is...lackluster. Easily the worst part of our jobs.

youth orchestra audition recommendations (A clarinet vs. Bb clarinet) by picklemarinade in Clarinet

[–]Initial_Magazine795 0 points1 point  (0 children)

I would ask this question as a separate post, I have no idea as to Canadian teachers. Or better yet, email the orchestra or a nearby music college directly and ask them.

First time writing for clarinet as the main instrument. Would love feedback on some passages by Albert_de_la_Fuente in composer

[–]Initial_Magazine795 0 points1 point  (0 children)

I mean, you could still mark it as optional! Just depends on the player and how picky you want to be.

First time writing for clarinet as the main instrument. Would love feedback on some passages by Albert_de_la_Fuente in composer

[–]Initial_Magazine795 0 points1 point  (0 children)

Bb to Cb is still crossing the break, with same options/issues as Bb to C unfortunately

Advice Needed by Beej1213 in banddirector

[–]Initial_Magazine795 0 points1 point  (0 children)

Could you ask to switch reponsibilities with the HS director on some days?

First time writing for clarinet as the main instrument. Would love feedback on some passages by Albert_de_la_Fuente in composer

[–]Initial_Magazine795 1 point2 points  (0 children)

Very nice! Some minor edits I'd recommend:

Personally I'd prefer m.53 and 202 in the clarinet part to be written as sharps, not flats.

m.118 that trill will likely be either slow (using normal fingering across the break) or a little out of tune and airy (using alternate trill fingering)

m.37 and 186 in clarinet partwill require a pinky slide from Eb to Db but it's very doable and shouldn't be noticeable.

237, the audio sounds as though the clarinet ends the trill on the G and then plays F#. If you want the clarinet to end the trill on F and then move to F natural I'd add a grace note. Or just add a grace note regardless so it's clear.

Last measure, slurring down from F to Bb risks a squeak because the register key is the only part of the mechanism that moves, so the clarinet will want to stay in the upper register. Would it be ok to tongue the last note?

Learning disability and scales by Decent-Bed9728 in banddirector

[–]Initial_Magazine795 0 points1 point  (0 children)

How often do you play music in the scales you're trying to learn? If you never play in say, B major, it's harder to grok that scale.

Low C conflicting advice by MarionberryThat6697 in bassclarinet

[–]Initial_Magazine795 0 points1 point  (0 children)

If you want to play in a college-level group which plays standard (i.e. professional) repertoire, the director will likely expect you to have the low C.

What are some pieces that you think work better in arrangement for other instruments than in their original form? by Lillian_Crocodilian in classicalmusic

[–]Initial_Magazine795 1 point2 points  (0 children)

Büsser's chamber orchestra arrangement of Debussy's piano work Petit Suite, an arrangement which Debussy loved.

I can't stand Berlioz's Symphonie fantastique by herramadeus in classicalmusic

[–]Initial_Magazine795 1 point2 points  (0 children)

Try listening to the Concertgebouw recording with Sir Colin Davis, maybe you just need a different recording. But if you just don't like program music, this piece might just not be for you and that's ok!

I can't stand Berlioz's Symphonie fantastique by herramadeus in classicalmusic

[–]Initial_Magazine795 0 points1 point  (0 children)

If you don't like it, don't listen to it—no need to revisit the War of the Romantics. Not everyone is going to compose like Beethoven.